A    FIRST    YEAR 


IN 


DRAWING 


BY 

HENRY  T.  BAILEY, 

O 

State  Supervisor  of  Drawing, 

Massachusetts. 


853 


COPYRIGHTED 
BY  EDUCATIONAL  PUBLISHING  COMPANY, 

1894. 


PREFACE. 


'TVHE  chapters   of   this   book    first   appeared   as    monthly 
articles  in  Primary  Education, 

With  the  June  number  came  letters  from  different  parts 
of  the  country  expressing  the  wish  that  they  might  be  pre- 
served in  more  permanent  form.  This  is  the  only  excuse 
for  being  which  this  little  volume  has  to  present. 

If  it  shall  encourage  or  help  a  faithful  teacher  in  any 
nook  or  corner  of  this  broad  land,  in  her  high  work  with 
the  little  men  and  women,  the  news  of  it  will  overflow  a 
cup  of  happiness  already  full. 

H.  T.  B. 

North  Scituate,  Massachusetts, 
September  j,  1894. 


20^5269 


RAPHAEL  PAINTING  THE   MADONNA  OF  THE  CHAIR. 

By  WMmer. 


A  FIRST  YEAR  IN  DRAWING, 


SEPTEMBER. 

I. 
Illustrative  Sketching. 

"  T  SUPPOSE  I  ought  to  try  to  teach  drawing  this  year ; 
1   O  dear!" 

The  teachers  who  come  to  their  school-rooms  in 
September  with  such  thoughts  are  becoming  scarce. 
Drawing  is  one  of  the  delights  in  a  modern  primary 
school.  How  children  love  it !  They  all  draw, —  that's 
the  proof.  They  draw  transparent  boxes  and  pre-his- 
toric  men  and  wrecked  railway  trains  and  disjointed 
trappers  scalping  wild  Indians.  They  even  draw  pic- 
tures of  the  teacher  on  the  sly.  What  fun !  So  much 

5 


6  A   FIRST   YEAR   IN   DRAWING. 

better  than  learning  number,  or  anything  else  in  school. 

"  But  you  don't  call  that  drawing,  do  you?  "  What 
else  is  it?  It  isn't  the  formal  drawing-card  sort,  to  be 
sure,  but  it  is  a  kind  of  drawing  just  as  an  acorn  shoot 
is  a  kind  of  oak,  or  a  restless  boy  a  kind  of  man. 
Pluck  up  the  sprout,  starve  the  boy,  and  hope  is  gone. 
And  so  when  we  discourage  these  first  attempts  of  our 
pupils  we  poison  the  fountain  at  its  source. 

When  shall  we  learn  the  lesson  our  pupils  have  been 
trying  to  teach  us  so  long  ?  —  that  our  business  is 
education  not  injection.  We  are  not  to  force  a 
knowledge  of  language  and  number  and  drawing  into  a 
boy's  empty  head,  but  to  draw  from  his  mind  all  these 
as  sun  and  rain  draw  spring  flowers  from  the  ground. 
His  mind  like  the  March  earth  is  stored  with  possibilities  : 
it  needs  but  a  warm  hearted  teacher  whose  lessons  are 
never  dry,  to  induce  rich  growths.  The  teacher  knows 
this,  and  finds  drawing  already  sprouted,  so  to  speak : 
nurturing  is  the  first  work,  not  planting. 

The  children  have  just  had  a  fascinating  lesson  from 
a  real  live  kitty,  or  mayhap  a  lamb, —  Mary's  little 
lamb, —  for  the  teacher  no  longer  turns  him  out,  she 
uses  him  for  a  language  lesson.  While  he  lingers  near 
let  the  children  sketch  him.  The  sketch  may  be  crude, 
but  it  may  embody  ideas,  and  these  will  be  forcibly  ex- 
pressed. Children  have  the  happy  faculty  of  getting  at 


A   FIRST   YEAR   IN   DRAWING. 


Fig.  i. 

the  "  true  inwardness  of  things "  without  loss  of  time. 
Compare,  for  example,  these  two  cows  with  the  two 
horses:  (Fig.  I.)  The  characteristics  by  which  chil- 
dren distinguish  them  are  never  lacking.  Cows  are 
long-bodied  animals  with  four  legs,  horns,  an  udder  and 
one  particular  kind  of  tail.  Horses  are  long-bodied 
animals  with  four  legs,  like  cows,  but  having  cars  instead 
of  horns,  (not  one  pupil  in  ten  ever  represents  a  cow's 
ears)  a  mane,  and  quite  another  kind  of  tail.  To  the 
child-mind,  evidently  shapes  of  bodies,  or  heads,  or 
hoofs,  are  of  no  importance. 

Children  seize  the  spirit  of  things   as  well  as    their 
essential  forms.      (Figs.  2,  3.) 


8 


A  FIRST  YEAE  IN  DRAWING. 


We  feel  the  opposition  of  forces  in  the  second  sketch, 
and  their  correlation  in  the  third  ! 


Figs.  2,  3. 


Not  only  may  language  lessons  be  illustrated,  but 
stories  and  memory  gems  and  number  work.  For  ex- 
ample, here  is  the  story  of  Moses  by  Master  Fred 
Home,  of  Maiden,  Mass.,  aged  six.  (Fig.  4.) 


Fig.  4. 


A   FIRST   YEAR   IN   DRAWING.  9 

Here  is  Miriam  standing  on  the  Nile  bank  reluctantly 
leaving  little  Moses  to  his  fate  in  the  ark  amid  the  bul- 
rushes. Then  comes  Pharaoh's  daughter  and  stands 
in  the  very  spot  where  Miriam  had  been  a  moment 
before.  Miriam  stands  behind  the  bulrushes  and  offers 
to  find  a  nurse  while  the  maid-servant  brings  Moses  to 
the  princess.  The  princess  is  next  shown  walking  home 
in  triumph  with  Moses ;  and  in  the  last  sketch,  we  see 
Moses  now  grown  to  a  mischievous  boy  running  about 
with  the  princess  near  the  king's  palace. 

For  the  lack  of  space  illustrations  of  memory  gems 
and  number  are  omitted. 

In  connection  with  nature  studies,  illustrative  sketch- 
ing is  indispensable.  How  much  character  is  expressed 
in  these  sketches  from  the  Model  School,  Bridgewater, 
Mass. !  There  are  many  "  older  and  wiser  men  "  than 
Albert  Boyden  who  do  not  know  as  he  does  that  soft-pine 
needles  are  put  up  five  in  a  paper.  Hasn't  the  pupil 
expressed  correct  ideas  of  proportion,  form,  number, 
delicacy  of  growth,  in  the  sketch  of  the  anemone? 
The  anonymous  artist  of  the  bird's  head  has  produced 
almost  a  "speaking  likeness."  (Fig.  5.) 

Illustrative  sketching  must  be  encouraged  and 
directed.  The  teacher's  work  is  to  lead  the  pupils  to 
observe  a  good  order.  Some  objects  may  be  better 
sketched  by  following  the  natural  order ;  for  instance  in 


10  A   FIRST   YEAR   IN   DRAWING. 

the  anemone.      (Fig.  5.)      The  order  was    stem,  leaf, 
stalks,  leaflets,  flower, —  the  order  of  growth.       Others 


Fig.  5- 


may  be  better  sketched  by  following  a  logical  order ;  — 
wholes,  parts  in  order  of  importance.  This  is  the  best 
order  in  sketching  flowers,  leaves,  etc. 


A   FIKST   YEAR   IN  DRAWING.  11 

The  first  test  to  be  applied  to  these  illustrations  is : 
Do  they  embody  definite  ideas  ?  If  they  do,  they  should 
be  praised,  not  criticised.  Later,  changes  in  form 
should  be  suggested,  perhaps,  but  sparingly,  for  con- 
tinued observation  of  objects,  under  guidance,  will  soon 
furnish  the  pupil  with  sufficient  knowledge  to  insure 
better  sketching.  He  will  become  his  own  critic. 

One  definite  idea  which  the  illustrative  sketch  should 
embody  is  life,  "But  how  shall  we  teach  pupils  to 
make  sketches  which  show  life  ?  "  We  can't.  That  is, 
we  can't  by  saying  draw  this  so,  and  that  so.  We  must 
lead  them  to  feel  the  life.  "  Bah  !  that's  sentiment !  " 
All  right,  call  it  by  any  name  you  like.  It  is  the  one 
element  which  determines  the  life  or  death  of  a  sketch. 
If  we  love  our  little  bluet,  and  feel  that  it  has  a  little, 
God-given  life  like  ours,  and  that  it  grew  just  for  us  to 
see  and  to  love  and  to  draw,  our  feeling,  in  some  myste- 
rious way,  will  inform  our  hand,  and  the  life-element 
will  flow  into  the  sketch.  Here  is  Master  Sidney 
Babcock's  live  sketch  of  a  live  bluet.  (Fig.  6.) 

These  sketches  are  faithful  reproductions  of  the 
original  pencil  drawings.  In  Figs.  I,  2  and  3,  I  have 
simply  added  ground  lines  to  give  the  animals  standing 
room. 

Master  Home  the  author  of  Fig.  4  was  in  the  lowest 
primary  grade,  and  the  pupils  whose  sketches  are 


12 


A  FIRST   YEAR   IN   DRAWING. 


grouped  in  Fig.  5  were  all  in  the  second  primary  grade. 
In  Fig.  6  the  circle  represents  the  outline  of  the  circular 


Fig.  6. 


piece  of  paper  on  which  the  sketch  was  made.  The 
half-tinting  indicates  color.  In  the  original  drawing 
the  tips  of  the  flowers  were  light  blue,  and  the  leaves 
green.  The  central  part  of  each  flower  was  yellow  and 
the  roots  brown.  The  colors  could  not,  of  course,  be 
reproduced  here.  The  little  artist  was  in  the  second 
primary  grade. 


OCTOBER. 
II. 

First  Lessons  in  Form. 

BUT  the  illustrative  sketching  is  not  enough.  Gossip, 
(mere  reporting  of  facts,  ct  cetera,  endlessly),  never 
produces  an  accurate,  elegant  English  style.  No  more 
will  mere  illustrative  sketching  make  good  reliable 
drawing.  It  is  too  superficial.  It  must  be  re-enforced 
by  systematic,  thorough  study  of  the  science  of  Drawing, 
and  by  persistent,  intelligent  practice  of  the  art. 

For  this,  definite  time  should  be  set  apart  and  con- 
scientiously improved.  One  hour  a  week  is  little 
enough  —  two  would  be  more  just.  Divide  this  time 
into  convenient  and  reasonable  periods.  Perhaps  a 
daily  lesson  during  first  and  second  years,  and  three 
each  week  aftenvard,  is  best.  Having  once  determined 
the  lesson  periods,  let  them  be  like  the  laws  of  the 
Medes  and  Persians. 

An  insight  into  the  course  as  a  whole,  is  of  next 
importance. 

13 


14  A  FIRST   YEAR   IN   DRAWING. 

The  pupil  is  to  be  trained  to  know  and  to  correctly 
represent  the  form  of  objects.  He  begins  with  the 
study  of  type  forms,  and  models  these  in  clay ;  he 
analyzes  .  types,  and  represents  their  faces  by 
paper;  he  studies  faces  representing  the  edges  con- 
cretely by  sticks,  and  corners  by  points ;  this  placing  of 
points  prepares  for  drawing  lines,  representing  edges ; 
lines  combined  produce  geometric  figures  representing 
faces ;  and  geometric  figures,  normal,  varied  or  modi- 
fied, when  properly  combined  form  the  basis  of  the 
grammar  work  in  Drawing.  Here  it  is  put  concisely, 
the  arrows  indicating  the  progression.  (Fig.  7.) 

/ Primary  Course. s 

Analytic  3ynthebt. 


,     "^ 

1. Wholes.  *  Type  Forms ,-  (Clay)  ---4-  Qco.Figs.  Combmed. 

2,.PtS.\     Faxes,—  (Pa.p«f)  ..-,/.  Qeometric  Figures, 

3.  \  Edges,- (SticKs.)-,/-  Lines,  Angles, 

4.    Corners,— TJeprettnteilb;  Points, 

Fig.  7. 

The  materials  required  are  spheres,  cylinders,  and 
cubes  (Fig.  8,)  to  be  used  as  type  solids,*  and  five  or 
ten  pounds  of  sculptor's  clay ;  f  tablets  and  sticks  are 
useful,  but  not  indispensable,  for  paper  and  tooth  picks 

*  These  cost  about  two  cents  each  when  purchased  in  large  quantities. 
All  the  material  required  for  first  year  work,  may  be  obtained,  packed  in  a 
neat  box,  either  from  the  Prang  Educational  Company,  or  through  other 
dealers  in  school  supplies. 

f  According  to  size  of  school.  Five  pounds  will  do  for  a  dozen  pupils. 
Clay  may  be  obtained  from  almost  any  dealer  in  school  supplies. 


A  FIRST  YEAR  IN  DRAWING.  15 

or  straws  may  be  substituted.  Be  sure  that  there  are  a 
few  objects  in  the  school-room  based  on  each  of  the 
type  forms. 

The   lessons   should    be    short,  direct     nd  attractive, 
and  may  be  given  as  follows : 

1.  The  sphere.     (Have  a  box  containing  a  sphere, 
marbles,  a  ball,  a  shot,  a  cylinder,  one  or  two  cylindrical 
objects,  a   cube,    and    some    cubical    objects.)     Pass  a 
sphere  about  among  the  pupils  for  their  examination. 
"  Who  can  find  something  shaped  like  that  in  this  box?" 
"  Who  else?  "     "  Another  may  try."      When  the  pupils 
recognize  the  shape  readily,   give  the    name,    Sphere. 
"How  does  the   sphere   feel  to   the   hand?"       "How 
does  it  look?  "     "What  will  the  sphere  do  when  placed 
on  the  floor?"      "What  when  placed    on    an    inclined 
desk-top?"      Ask  other  questions   and   suggest  other 
experiments  to  make  clear  the  mental  picture,  and  to 
develop  the  ideas  that  a  sphere  is  smooth  and  round 
every  way.     By  skillful  questioning  lead  the  children  to 
use  correctly  the  terms  sphere  and  spheres.     Write  the 
name  on  the  black-board. 

2.  Spherical  objects.     Review  the  sphere.     Lead  the 
pupils  (a)   to  find  similar  objects  in  the  room ;  (^)  to 
think  of  objects  shaped  like  a  sphere ;    (c)    to    recall 
spherical  objects  when  described ;  as,  for    instance,  "  I 
am  thinking  of  something  shaped  like  a  sphere,  about 


16  A  FIRST  YEAR  IN  DRAWING. 

as  large  as  a  small  marble,  red,  sour :  it  grows  on  vines, 
close  to  the  ground,  and  is  used  for  sauce  at  Thanks- 
giving !  " 

Three  degrees  of  mental  effort  are  thus  required  of 
the  pupil;  (a)  Idea  sphere  compared  with  an  object 
present  to  the  senses ;  (3)  two  ideas  compared ;  (c ) 
thought  developed  through  selection  and  combination 


Fig.  8. 

of  ideas.  Ask  the  pupils  to  bring  spherical  objects  for 
use  in  other  lessons.  They  will  bring  everything  from 
a  gold  bead  to  a  "  spit-ball,"  and  from  a  pumpkin  to  a 
dust  shot. 

3.  Modeling  the  sphere.  Have  the  clay  in  good  con- 
dition, —  soft  enough  to  model  easily,  but  not  soft 
enough  to  adhere  to  the  fingers.  Drop  the  mass  upon 
some  hard,  smooth  surface,  again  and  again,  until  it  is 
cubical  in  form.  Cut  it  by  means  of  a  string  into 
pieces  about  one  cubic  inch  in  size.  Distribute  these. 
Review  the  form  to  be  modeled.  Lead  the  pupils  to 
model  the  sphere  by  pressing  the  clay  between  the 


A   FIRST   YEAR   IN   DRAWING.  17 

fingers,  not  by  rolling.  The  smooth  surface  may  be 
obtained,  at  tJie  last,  by  rolling  gently  between  the 
palms  —  but  smoothness  is  entirely  secondary  to  general 
roundness  of  mass. 

Select  the  most  worthy  clay  spheres,  and  mark  them 
with  the  makers'  initials,  using  a  pen  or  other  sharp 
point.  Collect  the  remaining  clay,  place  it  in  a  moist 
cloth,  sprinkle  it  generously  with  water,  and  after  allow- 


Fig.  9. 

ing  it  to  stand  for  a  few  moments,  swedge  it  into  a 
compact  mass ;  wrap  it  in  moist  cloths,  and  outside 
place  a  piece  of  old  waterproof  or  other  "  air-tight " 
cloth.  If  the  inner  cloths  are  moistened  occasionally, 
clay  so  wrapped  will  keep  in  condition  to  use  an  indefi- 
nite length  of  time, —  a  whole  term. 

4.  Modeling  the  spherical  object.  Select  an  evident 
application  of  the  type.  Lead  the  pupils  to  determine 
the  important  characteristics, —  those  which  distinguish 
this  object  from  other  spherical  objects.  Model  the 
type  ;  modify  it  to  conform  to  the  selected  object.  Do 


18  A   FIRST  YEAR  IN  DRAWING. 

not  allow  the  pupils  to  attempt  the  reproduction  of 
unimportant  or  minute  detail. 

5.  Modeling  from  memory  ;  to  give  additional  prac- 
tice, and  to  test  the  truth  and  completeness  of  the 
pupil's  concept.  This  exercise  may  be  the  modeling  of 
the  sphere,  or  of  the  approximate  form.  Whichever  it 
is,  no  assistance  should  be  given  by  the  teacher.  In  all 
these  lessons  the  correct  pronunciation  of  the  new 
words  should  be  persistently  required.  "  Sp'ere"  is  no 
more  splicre  than  "  'and  "  is  hand,  or  "  drawin'  "  drawing. 

The  order  of  lessons  here  given  may  serve  for  all  the 

type  solids : 

r  a.  Recognition. 

b.  Name. 

1.  The  type 

c.  Qualities  and  attributes. 

^  d.  Approximates. 
T  a.  Observed. 

2.  Similar  objects  \   b.  Remembered. 

(^  c.  Imagined. 

3.  The  type  modeled. 

4.  Similar  object  modeled. 

5.  Memory  lesson. 

Illustrative  sketching  of  the  spheres  and  spherical 
objects  may  follow  or  accompany  these  lessons  ;  but  the 
chief  business  now  is  to  add  to  the  pupil's  knowledge  of 
form.  As  a  wise  master-builder,  lay  the  foundations 
that  another  may  find  something  to  build  upon. 


NOVEMBER. 

III. 
Other  Lessons  on  Form. 

'"f  II   THAT  is  the  name  of  that  solid  we  were  studying 

YV     last  week?" 

"Who  can  find  a  sphere  in  the  box?" 

"  What  will  it  do  when  placed  on  the  desk-top?  " 

"  How  does  it  feel  to  the  hand?  " 

"  Do  you  think  this  a  sphere  too?  "  says  the  teacher, 
holding  up  a  cylinder:  "  It  rolls  !  "  (rolling  it  upon  the 
desk-top.) 

"No?  Well,  who  can  find  a  solid  like  it?" 
"  Another."  "  Another." 

"And  here  is  its  hard  name  upon  the  blackboard : 
let  us  pronounce  it  together, —  cyl-in-der." 

"  Don't  ask  these  questions :  ask  similar  questions  of 
your  own  to  review  the  previous  work  and  introduce 
the  new.  It's  an  art  to  use  the  hook  (<;)  successfully, — 
to  get  what  you  want  each  time.  I  have  ventured  no 
answers,  you  see.  One  can  seldom  predict  his  catch 
with  certainty. 

19 


20 


A  FIRST   YEAR   IN   DRAWING. 


However,  if  the  teacher  has  a  definite  plan  for  pre- 
senting the  new  object  and  discovering  its  qualities  and 
attributes,  the  pupil  will  come  out  right  in  the  end.  A 
plan  has  been  already  suggested  in  a  previous  chapter. 
The  pupils  learn  that  the  cylinder  is  like  the  sphere  in 
one  respect  and  unlike  it  in  another, —  it  is  round  one 
way  and  has  flat  ends.  No  solid  rivals  the  cylinder  in 


Fig.  10. 


interest  —  it  is  like  a  stick  of  candy,  and  a  big  fire- 
cracker, a  muff  and  a  rolling-pin.  What  could  be  more 
interesting  to  boys  and  girls? 

Let  the  children  model  it  directly  from  the  cubical 
piece  of  clay :  do  not  make  a  sphere  first.  The  longest 
way  round  isn't  the  shortest  way  there !  Press  the 
clay  into  shape  with  the  fingers;  do  not  roll  and  "pat" 
except  for  the  finishing  touches.  Perhaps  two  lessons 
on  modeling  the  type  may  be  necessary  before  attempt- 
ing an  approximate  form  similar  to  those  shown  in 
Fig.  10. 


A   FIRST   YEAR   IN   DRAWING. 


21 


The  cube  is  not  round  at  all ;  it  has  six  flat  sides 
alike.  There  are  but  few  evident  applications :  the 
chalk  box,  the  teacher's  inkstand  perhaps,  a  letter  block, 
dice,  square  beads  for  number,  hat-pin  head,  and, —  "O, 
there  are  lots  of  cubes  good  to  eat,"  exclaims  the 
hungry  small  boy ;  "  cake  and  sugar  and  caramels  and 
marshmallows." 


Fig.  ii. 

The  modeling  is  simple  if  the  cube  is  made  directly 
by  pressing  the  clay  into  shape  with  the  fingers.  The 
edges  may  be  made  sharp  by  "pinching"  between  the 
thumb  and  fore-finger, — very  gently,  drawing  out  the 
clay.  The  sides  may  be  made  flat,  at  last,  by  tapping 
lightly  upon  the  slate.  Here  are  sketches  of  a  few 
simple  applications  for  modeling.  (Fig.  11.) 

The  three  solids  should  now  be  reviewed.  There  are 
many  interesting  devices.  For  example ;  give  each 


22  A  FIKST   YEAR   IN   DRAWING. 

pupil  one  of  each  kind.  Have  him  hold  up  the  one 
called  for,  or  the  one  whose  name  is  written  on  the 
board.  Make  a  row  on  the  desk, —  sphere,  cylinder, 
cube  ;  or,  cylinder,  sphere,  cube ;  cube,  sphere,  cylinder ; 
or,  cube,  cylinder,  sphere.  Recognize  and  name  from 
sketch  upon  the  black-board,  correctly  drawn.  (See 
Fig.  8.)  Another  interesting  exercise,  and  valuable,  is 
this :  sketch  some  object  on  the  board, —  an  apple, 
orange,  spool,  mug,  bottle,  box,  block,  and  have  the 
pupils  tell  which  solid  it  is  most  like.  But  perhaps 
most  interesting  is  the  sketch  of  a  simple  group  of  ob- 
jects suggesting  some  story,  like  Fig.  12  or  Fig.  13. 
Have  the  children  first  name  the  objects,  then  suggest 
the  story,  then  tell  the  form  of  each  object,  by  referring 
to  its  type. 

In  ungraded  schools  the  older  pupils  in  the  first 
section  may  sometimes  use  such  illustrations  for  lan- 
guage work.  Here  is  a  sample  from  real  life : 

"  Papa  came  home  late  one  night  and  found  a  tea  set 
on  the  table  for  him  to  drink.  He  pored  it  out  into  the 
cup.  He  put  in  milk  and  six  lumps  of  shuger  cubes. 
There  were  three  spoons  in  the  holder.  The  tea  pot 
was  shape  like  a  sphere." 

Many  suggestions  for  making  these  first  form  lessons 
interesting  may  be  found  among  the  kindergarten  litera- 
ture. There  are  one  or  two  little  songs  which  help  to 


A   FIRST   YEAR   IN   DRAWING. 


23 


fix  the  forms  in  mind.  But  even  if  such  cannot  be 
found,  the  wide-awake  teacher  will  devise  some  way  to 
make  the  child's  knowledge  stay  with  him,  through 
interest.  One  young  teacher,  somewhat  of  a  poet 


Fig.  i_. 

withal,    composed   this  ode,   and  caused  it  to  be   com- 
mitted to  memory  as  a  "Memory  Gem!" 

"  Here  is  the  cube  as  square  as  a  brick ; 
Here  is  the  cylinder  round  as  a  stick ; 
Here  is  the  sphere,  it  is  shaped  like  a  ball ; 
Sphere,  cube,  and  cylinder,  that  is  all." 

Lastly,  the  children  should  know  these  forms  so  well 
that  they  can  find  them  in  combination.  The  mallet, 
(Fig.  10),  is  composed  of  two  cylinders;  the  inkstand, 


24  A   FIRST    YEAR   IN   DRAWING. 

(Fig.    n),    of    a   cube    and     a     cylinder;    the     lamp, 
(Fig.  13),  of  a  sphere,  a  cylinder,  and  a  half  sphere. 

As  a  review  exercise  in  modeling,  little  groups  may 
be  made  similar  to  Figs.  12  and  13.  A  croquet  set  is 
interesting  with  its  box,  balls  and  mallets  and  wire 


Fig- 


wickets.  The  ground  may  be  made  of  a  thin  sheet  of 
clay  placed  on  a  board  ;  the  wickets  of  straw  or  grass- 
stems  and  the  stakes  of  clay. 

But  let  us  remember  that  the  chief  end  is  to  teach 
form  :  not  to  make  pretty  things  for  amusement.  The 
true  product  is  in  the  boy's  head,  not  on  a  shelf  in  the 
closet. 


DECEMBER. 

IV. 
Details  of  Form. 

"TF  the  prophet  Isaiah  had  ever  taught  a  primary 
1  school,"  once  said  a  discouraged  teacher,  "  he 
would  have  revised  his  directions.  '  Precept  upon  pre- 
cept, precept  upon  precept,  line  upon  line,  line  upon 
line,'  is  all  right ;  but  he  should  have  added,  here  a 
little,  and  there  a  good  deal!  Children  are  so  forgetful !  " 
Children  often  forget  what  they  have  been  told,  but 
seldom  what  they  have  discovered.  Did  a  boy  ever 
forget  the  location  of  a  bird's  nest?  The  boy  who 
discovers  that  his  body  is  a  cylinder,  and  his  limbs  cyl- 
inders, and  his  head  a  sphere,  will  not  soon  reach  the 
sad  state  where  his  teacher  feels  like  asking  him  if  he 
hasn't  mistaken  the  shape  of  his  head  ! 

As  a  review  lesson  on  form,  nothing  is  more  interest- 
ing than  a  voyage  of  discovery.  We  find  the  largest 
sphere  in  town,  the  largest  cylinder,  (perhaps  "The 
sand-pipe  on  the  hill  what  the  water  comes  out  of,"  as  I 
have  been  told  more  than  once),  the  largest  cube:  then 

25 


26  A    FIRST   YEAR   IN  DRAWING. 

the  smallest.  The  longest  cylinder  in  the  room,  the 
shortest ;  —  these  always  yield  interesting  results,  and 
make  definite  the  pupil's  ideas  of  form,  preparatory  to 
lessons  on  details  of  form. 

"You  have  a  sphere  in  your  hand.  What  part  of  it 
do  you  touch?  " 

"The  outside." 

"What  part  of  the  cube  are  you  touching?  " 

"  The  outside." 

"  How  many  outsides  has  a  thing?  " 

"  One." 

"  Here  is  a  new  word  for  outside;  — surface.  Let  us 
pronounce  it  together : 

Surface. 

Here  it  is  written  on  the  blackboard.  Let  us  pro- 
nounce it  once  more.  Mary  may  try.  John  may  try. 
What  is  it,  Tommy?  " 

"Then  what  part  of  the  sphere  are  you  touching? 
What  part  of  the  cylinder?  What  part  of  the  cube?" 

"Touch  the  surface  of  the  desk;  of  the  book;  of  the 
slate,"  etc.,  etc. 

Another  day ;  — 

"  Move  your  fingers  over  the  surface  of  the  sphere. 
Over  the  surface  of  the  cube.  Do  you  discover  any 
difference  between  the  two  surfaces?" 


A   FIRST   YEAR   IN   DRAWING.  27 

Can  you  find  some  other  thing  in  the  room  with  sur- 
face like  that  of  the  sphere  ?  Like  that  of  the  cube  ?  " 

And  so  develop  the  ideas  curved  surface  and  plane 
surface*  Review. 

Another  day ;  — 

"  Touch  the  top  of  the  sphere  ;  the  side ;  the  front ; 
the  back.  How  do  you  know  where  the  '  top '  stops 
and  the  '  side  '  begins  ?  " 

"  Touch  the  top  of  the  cube ;  a  side ;  can  you  tell 
now  where  the  '  top  '  stops  and  the  '  side  '  begins?  " 

Other  questions  will  develop  the  thought  that  a 
surface  may  have  distinct  parts.  Distinct  parts  of 
surface  are  faces.  Review,  finding  large  and  small 
faces ;  number  of  faces  on  a  given  solid  or  object ;  and 
later  the  kinds  of  faces,: —  curved,  plane ;  and  shapes, 
round  (the  end  of  the  cylinder),  and  square  (a  face 
of  the  cube.) 

At  this  point  it  may  be  well  to  divide  an  ungraded  or 
partially  graded  school  into  two  sections ;  one  composed 
of  the  younger  and  duller  pupils,  and  the  other  com- 
posed of  the  older  and  brighter. 


*  At  this  stage  do  not  attempt  to  teach  "  round  surface."  The  term  is 
ambiguous;  spherical  surface  is  definite  and  correct;  but  if  that  is  taught, 
why  not  cylindrical  surface,  and  conical  surface,  and  spheroidal  surface  ! 
Teach  it  —  round  surface  —  and  children  will  confuse  it  with  round  face, 
and  make  no  end  of  trouble. 


28  A  FIRST   YEAR   IN   DRAWING. 

The  Primary  Section 

then,  may  continue  the  analysis  of  form,  going  slowly 
and  surely,  with  occasional  lessons  in  modeling  applica- 
tions of  the  type  forms. 

(i)  Faces  are  bounded  by  edges;  either  curved  or 
straight.  (2)  Straight  edges  have  definite  positions; 
(3)  horizontal,  (4)  vertical,  (5)  oblique.  (6)  Edges 
end  at  corners,  whose  pictures  are  points.  (7)  Corners 
have  certain  locations,  as  at  the  top,  bottom,  left,  right, 
etc.,  and  are  (8)  definite  distances  apart  on  the  cube, 
namely,  one  inch.  The  figures  in  parenthesis  show 
the  order  of  lessons,  and  by  their  position  indicate 
approximately,  how  much  may  be  taken  in  each. 

These  lessons,  so  precise  and  uninviting  in  cold  type, 
when  passed  through  the  alembic  of  a  live  teacher's  love, 
arouse  almost  uncontrollable  enthusiasm. 

The  interspersed  lessons  in  modeling  during  the 
month,  may  have  some  reference  to  Christmas.  Why 
not  make  Christmas  presents — a  ball  for  baby  brother, 
some  alphabet  blocks,  a  Jack-in-the-box  for  the  little 
lame  boy,  a  fine  ink-stand  for  teacher,  and  a  box  of 
marshmallows,  a  string  of  beads  for  Jennie,  a  hat  pin  for 
mamma,  and  a  scarfpin  for  papa;  and  caramels  and 
oranges,  and  O,  so  many  pretty  things  besides  !  Here 
are  suggestive  sketches.  (Fig.  14.) 


A  FIRST   YEAR   IN   DRAWING. 


29 


Fig.  14- 

Sketches  of  simple 
objects  involving  in 
their  construction 
the  modelling  of  K 
forms  similar  to  the 
type  solids. 


"This  clay  well  mix- 
ed with  marl  and 
sand, 

Follows  the  motion 
of  my  hand ; 

For  some  must  fol- 
low and  some 
command, 

Though  all  are  made 
of  clay." 

[Longfellow  in  Keramos^ 


30 


A  FIRST   YEAR   IN   DRAWING. 


The  Intermediate  Section 


may  make  a  more  careful  study  of  the  shapes  of  faces, 
taking  first  the  circle  and  square,  derived  from  the  cyl- 
inder and  cube.  These  may  be  cut  from  paper  and 
studied  for  edges  and  corners  and  then  drawn  on  the 
black-board. 


Paper  circles  and  squares  are  capable  of  magic  trans- 
formations ! 

A  six-inch  circle,  halved,  will  give  two  semi-circles, 
(Fig.  15),  one  of  which,  (A"),  with  the  aid  of  a  bit  of 
glue  and  a  strip  (A)  for  a  handle  will  make  a  cornu- 
copia for  Christmas;  and  the  other  (D),  after  modifica- 
tion at  the  center  as  shown  at  d,  d,  will,  with  a  three-inch 


A   FIRST  YEAR   IN   DRAWING. 


31 


32  A  FIRST   YEAR   IN   DRAWING. 

circle  (B)  make  a  fine  little  mustard-pot.  Then  another 
three-inch  circle  like  B,  with  one  radius  cut,  when 
properly  glued,  and  furnished  with  a  handle  (B")  will 
make  a  cover.  A  five-inch  circle  (C")  and  the  cross 
form  (C)  properly  glued,  will  make  a  Japanese  sun- 
shade, and  a  tooth-pick  will  do  for  the  handle.  A  three- 
inch  circle  (B)  and  a  twelve-inch  strip  like  Bx  will  make 
a  ladle ;  and  so  on  to  the  end,  wherever  that  is. 

Squares  are  equally  interesting.  (Fig.  17.)  A 
five-inch  square  cut  as  shown  at  E,  will  make  a 
wind-mill ;  one  cut  as  at  F,  with  f  folded  over  upon 
F,  and  f  then  folded  over  and  glued  upon  f,  will, 
with  a  bit  of  ribbon  make  a  neat  handkerchief  case.  A 
square  like  G,  folded  upon  the  dotted  lines,  and  g, 
glued  to  g'  will  make  another  hanging  basket  for 
Christmas.  Another  pretty  little  basket  may  be  made 
from  H  plus  H'.* 

But  with  all  the  pretty  things  let  us  not  forget  that 
mental  discipline  is  the  end,  and  that  at  the  close  of  each 
exercise  the  pupil  should  either  knoiu  more,  or  have  a 
greater  power  to  work  accurately  and  neatly,  or  have  a 
higher  skill  to  work  rapidly  and  deftly. 


*  The  completed  objects  are  shown  in  Fig.  16.  Many  similar  objects  may 
be  found  in  White's  Primary  Manual,  and  in  various  other  publications  of 
the  Prang  Educational  Company. 


JANUARY. 

v. 
Movement  and  Drill. 

QUESTION :  If  all  work  and  no  play  makes  Jack  a 
dull  boy,  what  will  all  play  and  no  work  make  him  ? 
The  answer  begins  to  materialize  in  some  quarters:  — 
certainly  not  an  ideal  American  citizen.  In  some 
primary  schools  illustrative  sketching  and  clay  modeling 
are  popular, — they're////// — but  movement  exercises  and 
the  drawing  of  lines, — discipline, — "  Let's  make  some- 
thing pretty!"  Not  so,  my  friends;  rather  let  us  gird 
up  the  loins  of  our  mind  and  ascend  the  Hill  Difficulty 
at  once.  It's  hygienic. 

First,  the  children  must  acquire  good  habits  of  posi- 
tion and  movement.  If  we  could  but  come  into  perfect 
sympathy  with  our  children,  and  see  things  from  their 
point  of  view,  we  could  lead  them  to  see  for  themselves 
how  much  more  desirable  is  an  erect  position,  and  "long 
pencil  holding."  We  could  lead  them  to  prefer  a  hand 
and  arm  subject  to  the  will,  and  to  rejoice  in  any  effort 
necessary  to  secure  that  end. 

33 


34  A  FIRST   YEAR   IN   DRAWING. 

If  we  tell  the  pupil  to  sit  thus  and  so,  and  prescribe 
rules  for  every  part  of  the  body,  we  put  him  into  such  a 
straight  jacket  that  he  hardly  dares  to  move  for  fear  of 
getting  out  of  position.  His  hand  seems  about  as  capa- 
ble of  free  movement  as  the  "  flipper"  of  a  stuffed  seal ! 

Let  us  sit  down  and  draw  with  the  children, —  example 
is  better  than  precept.  "  Can  you  sit  up  straight  as  I 
do  ?  Do  you  see  how  my  pencil  is  held  ?  Can  you  hold 
yours  so?  (Two  or  three  inches  from  the  point,  and 
almost  perpendicular  to  the  direction  of  the  line  to  be 
drawn.)  Let  us  place  a  point  here,  one  inch  from  the 
left  edge  of  the  paper ;  another  here,  one  inch  from  the 
right  edge.  Pencil  over  the  left  point ;  over  the  right 
point;  all  together,  over  the  left  again.  Now  we  will 
make  believe  draw  a  line ;  all  ready, —  slide.  Do  you 
think  that  would  have  been  a  good  line  if  the  pencil  had 
touched  the  paper?  Let  us  try  it  again,  now;  again. 
Good.  Watch  me  now ;  I  shall  slide  once  or  twice  and 
then  let  the  pencil  touch  the  paper  so  that  it  can  draw. 
That  isn't  a  very  straight  line,  is  it?  I  shall  try  again. 
You  can  do  better  than  that,  I'm  sure.  You  may  try  it 
with  me.  Now,  all  together. 

And  so  the  lesson  goes  on,  everybody  happy,  every- 
body doing  his  best.  It's  surprising  how  the  difficulties 
disappear,  and  what  fun  it  is  to  climb  the  hill, — to  work, — 
when  we  have  a  good  guide  and  a  jolly  companion. 


A   FIRST  YEAR   IN   DRAWING. 


35 


Let  us  not  sit  at  the  desk  and  say,  "slide,  back ;  slide, 
back ;  slide,  back ;  draw:"  with  that  sing-song  mechani- 
cal rhythm  productive  only  of  ennui. 

Review  the  positions  of  edges,  with  the  models,  with 
objects  in  the  room;  practice  the  movements,  (defi- 
nitely,—  from  point  to  point, —  the  careless,  aimless  slid- 
ing does  more  harm  than  good  — "  Sliding  in  the  air"  is 


Fig.  1 8. 

just  what  the  expression  implies,)  and  draw  in  order  (i) 
horizontal  lines,  (2)  vertical  lines,  (3)  oblique  lines 
downward  to  the  left,  (4)  oblique  lines  downward  to  the 
right.  Two  lessons  on  oblique  lines  are  enough ;  lay 
emphasis  on  horizontal  and  vertical.  When  these  two 
positions  are  known,  pupils  will  not  write  "  up  hill,"  nor 
write  a  column  of  figures  always  slanting  downward  to 
the  left. 


36 


A   FIRST   YEAR   IX   DRAWING. 


Have  the  class  draw  upon  the  blackboard  once  every 
two  weeks  at  least.  Here,  no  erasing, —  except  as  the 
teacher  may  direct, —  full  arm  movement,  long  lines, —  at 
least  eighteen  inches, —  the  pupil  standing  as  far  from  the 
board  as  possible  while  working. 

Continue  the  illustrative  sketch- 
ing. The  specific  lessons  in  draw- 
ing will  begin  to  better  this.  The 
little  sketches,  Figures  18,  19,  and 
20,  show  how  the  lines  may  be 
embodied  in  interesting  form :  the 
sea  must  be  level,  for  it  is  almost 
calm ;  the  spider's  thread  must  be 
vertical  and  the  hill  oblique.  Other  / 
details  may  be  changed  according  /  % 
to  the  pupil's  fancy.  Here  are 
suggestive  notes  for  other  sketches, 
embodying  the  type  forms  and 
the  lines. 

I  see  a  boy  coming  home  from 
the  fair  with  his  mother.  He  has 
a  toy  balloon  held  fast  by  a  string. 
Can  you  make  the  picture?  (Sphere  and  vertical  line.) 

John  is  in  the  country  helping  his  grandpa  pick  apples. 
He  stands  on  a  ladder  leaning  against  the  tree.  He  has 
a  basket.  I  see  a  barrel  of  apples  under  the  tree.  There 


Fig.  19. 


A   FIRST   YEAR   IN   DRAWING. 


37 


is  a  bird  on  the  tip-top  spray  watching  him.  (Cylinder 
and  oblique  line.) 

At  grandpa's  is  a  well-sweep.  One  day  Harry  threw 
.a  stick  into  the  well  when  grandpa  was  drawing  water 
for  old  Brindle  to  drink.  While  grandpa  leaned  over 
the  well-curb  looking  in,  Harry  ran  away  to  hide  in  the 
barn.  (Cube  and  oblique  line.) 

Be  merciful  in  criticising  these  sketches.  Do  they 
embody  the  ideas  awakened  by  the  story?  Are  vertical 
lines  vertical  and  horizontal  lines  horizontal?  Let  us 
look  for  the  good  to  commend  it,  not  for  the  bad  to 
condemn  it. 


Fig.  20. 


Intermediate  Section. 

After  these  pupils  can  draw  horizontal  and  vertical 
lines  with  comparative  skill  they  may  begin  the  sys- 
tematic study  of  the  geometric  figures.  These  are 
important ;  they  form  the  basis  of  all  kinds  of  graphic 


38  A  FIRST   YEAR  IN  DRAWING. 

representation,  Geometric,  Decorative  and  Pictorial. 
They  must  be  known  by  the  pupil  as  thoroughly  as  the 
four  fundamental  processes  of  arithmetic. 

Review  the  shapes  of  faces  already  found  (circle  and 
square,)  and,  if  models  are  to  be  had, — half-sphere,  half- 
cylinder,  and  half-cube, —  find  the  new  shapes  of  faces, 
namely,  triangle,  oblong  and  semi-circle.  If  no  models 
are  to  be  had,  the  new  shapes  may  be  made  by  dividing 
squares  and  circles.  However  obtained,  the  most  satis- 
factory order  of  study  seems  to  be,  triangle,  square, 
oblong,  circle,  semi-circle.  Some  object  to  this  course, 
—  this  insisting  on  a  clear  knowledge  of  geometric  fig- 
ures. But  I  have  yet  to  find  a  school  where  pupils,  who 
have  not  had  such  lessons,  discriminate  clearly  between 
circle  and  sphere,  oblong  and  cylinder,  square  and  cube ; 
angle,  triangle  and  triangular  prism  are  in  a  hopeless 
tangle,  too.  We  must  take  special  pains  to  keep  distinct 
those  things  likely  to  be  confused.  During  the  first  two 
years  NEVER  talk  about  tablets  as  representing  views. 
They  represent  plain  faces  only.  (One  face  of  the  cyl- 
inder is  two  inches  by  three  and  one-eighth,  nearly, 
— not  one  by  two!  No  tablet  represents  this.)  The 
average  child's  mind  makes  no  such  fine  distinctions  as 
are  involved  in  the  thing,  the  view  of  the  thing,  the  repre- 
sentation of  the  view  of  the  thing,  and  the  drawing  of  the 
representation  of  the  view  of  the  thing ! 


A   F1KST   YEAR   IN   DRAWING. 


39 


Fig.  21. 

A  series  of  lessons  on  the  triangle  may  be  given  as 
follows : 

1.  Find  a  plane  face  having  the  fewest  possible  num- 
ber of  straight  lines.     Find  a  tablet  like  it.     Cut  this 
shape  from  paper.     Find  objects  having  triangular  faces. 
Draw  triangles  on  the  board. 

2.  Cut  a  four  inch  square  in  two  to  make  two  tri- 
angles.    Make  a  drawing  from  one,  upon  a  sheet  of  ma- 
nilla  paper  (See  Fig.  21.)    Mount  the  triangle  in  another 
position  upon  the  same  sheet.      (Using  the  other  paper 
triangle.) 

3.  Find  the  part  on  which  the  triangle  is  supposed  to 
stand.     Write  near  it  the  word  base.     Find  its  highest 


40 


A   FIRST   YEAR  IX   DRAWING. 


Fig.  22. 

point.  Write  near  that,  vertex.  Fold  the  triangle,  or  in 
some  other  way  show  a  straight  line  from  the  vertex 
down  vertically  to  the  base.  Write  near  this  altitude. 
Indicate  the  base,  vertex  and  altitude  in  each  of  several 
triangles  of  different  shapes  drawn  upon  the  blackboard. 

4.  Draw  two  triangles  upon  manilla  paper,  and  indi- 
cate these  details  (See  Fig.  22.) 

5.  Draw  some  triangular  object.      (See  Fig.  23  ;  the 
support  and  shelf  of  a  corner  bracket.) 

6.  Reproduce  the  drawing  from  memory.     Without 
help  from  the  teacher. 

7.  Draw   the   following   from    dictation.     Turn   the 
sheet  (6"  X  9")  with  a  long  edge  horizontal.     Place  a 


A   FIRST   YEAR   IN   DRAWING. 


Fig.  23. 

point  one  inch  from  the  lower  left  hand  corner.  (The 
pupils  know,  of  course,  that  this  means  one  inch  above 
the  lower  edge  and  one  inch  in  from  the  left  edge,  called, 
for  short,  one  inch  from  the  corner.)  Place  a  point  one 
inch  from  the  lower  right  hand  corner.  Place  a  point 
one  inch  and  one-half  below  the  middle  of  the  upper 
edge.  Connect  these  points  to  form  a  triangle.  Indi- 
cate its  altitude  by  means  of  a  very  light  line.  Place  a 
point  on  the  altitude  one  inch  and  one-half  above  the 
base.  This  point  is  the  centre  of  a  circle  one-half  inch 
in  diameter.  Draw  the  circle.  (Result:  a  draftsman's 
triangle, —  from  the  Springfield  Drawing  Kit, —  See 
Fig.  24.) 


42 


A  FIRST   YEAR   IN   DRAWING. 


Fig.  24. 

Suggestions  for  other  lessons  on  the  triangle  may  be 
found  in  White's  Primary  Manual,  (Prang  Educational 
Co.)  and  in  Thompson's  Manual  Training  No.  I.  (D. 
C.  Heath  &  Co.) 


FEBRUARY. 
VI. 

Faces. 

"HPHE  class  may  pass  to  the  blackboards."      (If  there 

1  is  not  room  for  all,  the  brightest  may  remain  at 
their  seats  and  work  with  slates,  or  better,  with  paper 
and  pencils.) 

"  You  may  place  points  for  a  horizontal  line  one  foot 
long."  (On  the  paper  perhaps  6''.)  "Draw  the  line." 

"  Now  I  shall  ask  you  to  do  something  which  hun- 
dreds of  boys  and  girls  can't  do,  although  it  seems  so 
easy.  Can  you  see  the  ends  of  your  line?  Can  you  see 
the  middle  of  the  line?  Sure?  Look  right  at  the  mid- 
dle of  your  line ;  now  make  a  little  mark  across  the  line, 
exactly  in  the  middle.  Do  you  think  yours  is  just  right? 

Stand  back  and  look  at  others.  Do  you  think  one  is 
just  right?  How  shall  we  know  whether  this  one  is  right 
or  wrong?  Yes,  we  can  measure.  Who  would  like 
to  measure  all  the  lines  upon  the  board.  John  may 
measure  them." 

And  so  John  measures  and  finds  only  two  right.  The 

43 


44 


A   FIRST   YEAK    IN   DRAWING. 


teacher  who  had  been  working  with  the  children  finds 
her  own  wrong, — to  the  amusement  and  encouragement 
of  the  class.  She  says  she  will  try  again ;  the  class 
wishes  to  try  again  too ;  and  the  lines  are  erased. 
Others  are  drawn,  divided  and  tested.  Mary  divides  her 
lines  correctly  every  time.  Her  name  shall  be  written 
in  one  corner  of  the  blackboard  with  a  star  after  it.  "  I 
wonder  whose  name  will  be  written  there  after  the  next 
lesson?" 


Fig.  25. 

At  another  time : 

"You  may  sketch  two  telegraph  poles  with  their  wires." 
(Fig.  25.)  "  One  day  a  little  bird  flying  along  thought 
he  would  stop  to  rest  on  one  of  the  wires.  He  happened 
to  light  just  half  way  between  the  two  poles.  Can  you 
sketch  him."  Again,  it  is  a  man  setting  out  trees  along 
the  sidewalk  in  front  of  his  house.  Or  there  are  three 
soldiers  in  a  row,  or  three  crows  on  a  fence.  Before  the 
pupils  are  aware  of  making  any  unusual  effort  they  have 
learned  to  bisect. 


A   FIRST   YEAR  IN   DRAWING. 


45 


While  practicing  free  drawing  of  lines  and  judging  dis- 
tances the  pupils  may  be  learning  the  positions  and  shapes 
of  faces.  I  have  yet  to  discover  a  school  in  Massachu- 
setts where  the  pupils  are  not  familiar  with  the  terms 
horizontal,  vertical  and  oblique ;  and  I  might  almost  add 
with  truth,  that  I  have  yet  to  discover  one  where  the 


Old  Alden  Place,  Duxbury.     Built  by  the  son  of  John  and  Priscilla  Alden,  in  1653. 

Fig.  26. 

pupils  know  which  is  which  !  They  often  guess  right 
twice  out  of  three  times  but  if  you  doubt  the  guess  they 
will  guess  again  with  great  confidence. 

With  three  type  solids  on  the  desk  the  terms  may  be 
easily  taught.  "Place  your  finger  on  the  top  of  the 
cube ;  on  the  top  of  the  cylinder.  Mary  may  touch  the 


46  A   FIRST  YEAR   IN   DRAWING. 

top  of  the  play  table.  What  do  you  touch?  "  (Surface 
or  face.)  "Place  the  sphere  on  the  table;  what  does  it 
do?"  (Stands  or  rests.)  "Can  you  find  another  face 
on  which  the  sphere  will  rest?"  A  face  on  which  a 
sphere  will  rest  is  horizontal.  "  Place  the  sphere  on  the 
middle  of  the  desk-top ;  when  you  let  it  alone,  what  will 
it  do  ?  Find  another  face  on  which  the  sphere  will  roll 
without  being  pushed."  A  face  on  which  a  sphere  rolls 
is  oblique.  All  other  faces  are  vertical.  Find  horizon- 
tal faces  in  the  room.  Find  vertical  faces.  Find  oblique 
faces.  How  many  horizontal  faces  has  the  cube,  as  it 
rests  on  the  floor?  How  many  vertical  faces.  Can  you 
hold  a  cube  so  that  all  its  faces  will  be  oblique?  So 
that  four  of  them  will  be  oblique  ?  How  many  faces  do 
you  think  there  are  on  this  old  house  with  its  L?  (Fig. 
26.)  How  many  are  vertical?  How  many  are  oblique? 

The  terms  may  now  be  applied  to  edges.  Pupils  have 
no  difficulty  in  thinking  edges  which  are  level,  edges 
which  go  straight  up  and  down,  and  edges  which  slant. 
How  many  horizontal  edges  on  the  top  of  the  cube? 
How  many  on  the  whole  cube?  How  many  vertical? 
How  many  oblique  when  the  cube  rests  upon  one  edge 
only?  Upon  one  corner  only? 

Apply  the  terms  to  lines.  For  busy  work  give  the 
pupils  four  or  five  sticks  2"  long  and  ask  them  to  make 
as  many  objects  as  they  can  using  all  the  sticks ;  first 


A   FIRST   YEAR   IN   DRAWING. 


47 


arranging  the  sticks,  and  then  making  a  little  sketch  at 
one  side  on  the  slate,  as  a  record. 

Here  is  a  series  obtained  in  the  Dover  street  school, 
Lowell,  each  pupil  having  four  sticks.      I  give  the  names 


=a  .11.  I   I 

f  An  I         Table 


House  Chair.       Umbrella 


T|0  wet-Tot 


Fig.  27. 


given  by  the  children.  (Fig.  27.)  And  here  is  another, 
with  five  sticks  obtained  in  the  Ames  street  school, 
Lowell.  (Fig.  28.) 

The  pupils  made  the  sketches  and  indicated  the  num- 
ber and  positions  of  lines  in  each:  as  "Fan,  2  H,  3  V." 
"  Dipper,  2  H,  2  V,  i  O,"  etc.  This  is  busy  work  which 


48 


A   FIRST   YEAR   IN   DRAWING. 


:     f 

.      *>            }  „ 

&> 
o 
<=> 

3 
X3 

0 

,  c 

'  / 
i  ^H 

-1/1 


A   FIRST  YEAR   IN   DRAWING. 


49 


busies  brains  as  well  as  fingers.  It  keeps  the  imaging 
power  active,  and  gives  training  in  drawing  and  number. 
The  children  like  it. 


Fig.  29. 

The  next  lessons  may  be  on  the  shapes  of  faces.  Two 
faces  of  the  cylinder  are  round.  Those  of  the  cube  are 
square.  By  pressing  a  piece  of  paper  over  the  end  of 
the  cylinder,  the  shape  of  the  face  may  be  creased,  and 
the  impression  will  guide  the  pupil  in  cutting  out  the 
circle.  The  square  may  be  cut  from  a  corner  of  the 
paper  by  following  similar  steps. 

Let  the  pupil  trace  around  the  faces,  then  draw  them 


50  A   FIRST  YEAR   IN   DRAWING. 

large  size  upon  the  blackboard,  then  make  illustrative 
sketches  involving  squares  and  circles. 

Intermediate  Section. 

By  constant  review  keep  the  past  lessons  fresh  in  the 
pupil's  mind. 

"  How  many  things  do  you  find  shaped  like  triangles? 
I  wish  you  would  keep  one  sheet  of  paper  in  your 
geography,  on  which  to  make  sketches  of  things  shaped 
like  triangles,  as  fast  as  you  discover  them."  After  the 
interest  begins  to  flag,  show  the  pupils  a  sheet  of  your 
own  containing  such  sketches  as  these.  (Fig.  29.) 

A  series  of  lessons  on  the  square  may  be  arranged 
upon  the  same  general  outline  as  that  given  for  the 
previous  series  on  the  triangle. 

1.  Study  one  face  of  the  cube.      How  many  edges 
has  it?     How  many  angles?     What  can  you  discover 
about  the  length  and  relation  of  edges?     What  about 
the  angles?     Find  a  tablet  like  it.      Cut  this  shape  from 
paper.     Find  objects  having  square  faces.     Draw  squares 
upon  the  board. 

2.  Cut  a  four  inch  square  so  as  to  make  four  two-inch 
squares.     Make  a  drawing  of  one,  enlarged,  upon  a  sheet 
of  paper.      (See  Fig.  30.)      Mount  the  square  upon  the 
upper  left-hand  part  of  the  sheet. 

3.  Fold  another  two-inch  square  to  make  four  small 


A  FIRST   YEAR   IN   DRAWING. 


51 


squares.  How  is  the  square  divided  by  the  creases? 
How  do  the  creases  divide  each  other?  Lines  passing 
through  squares  as  these  do  are  diameters.  Fold  another 
two-inch  square  to  make  four  right-angled  triangles  each 
having  a  two-inch  base.  How  do  the  creases  divide  the 
square?  And  each  other?  Lines  passing  through 


aitAr 


wina  1 


Fig.  30 

squares  as  these  do  are  diagonals.  Draw  diameters  or 
diagonals  in  squares  drawn  in  different  positions  upon 
the  board. 

4.  Mount  the  two  folded  squares  near  the  left  side 
of  a  sheet,  and  draw  a  large  square  with  diameter  and 
diagonals  in  the  space  at  the  right.  Add  the  names  of 
details.  (Fig.  31.) 


52 


A   FIRST   YEAR   IX   DRAWING. 


5.  Draw  some  square  object.      (See  F  g.  32  ;  a  cold- 
wave  signal.) 

6.  Reproduce  the  drawing  from  memory,  or  draw 
some  other  square  object. 

7.  Draw  the    following    from    dictation.     Turn    the 


*'N 

*"        \ 


Fig.  31. 

sheet  (6"  X  g"}  so  that  a  short  edge  is  horizontal.  Place 
a  point  one  inch  from  the  upper  left  hand  corner. 
Another  one  inch  from  the  upper  right  hand  corner. 
Place  other  points  for  a  four-inch  square.  Sketch  the 
square.  Sketch  its  diagonals.  Place  points  on  each 
side  of  the  square  one  inch  from  each  corner.  Place 
points  on  each  semi-diagonal  one  inch  from  the  center. 
Connect  the  points  to  form  a  Maltese  cross.  Make  the 


A   FIRST   YEAR   IN   DRAWING. 


53 


lines  of  the  cross  much  heavier  than  the  sketched  lines. 
(Fig.  33.)  What  do  you  know  about  the  Maltese  cross  ? 
Have  you  read  "In  His  Name,"  by  Dr.  E.  E.  Hale? 


Kg.  32. 


Fig.  33- 


Suggestions  for  other  lessons  on  the  square  may  be 
found  in  Prang's  Primary  Course  Manuals,  and  in  the 
other  books  previously  mentioned. 


MARCH. 

VII. 
Faces. —  Continued. 

IN  a  fourth  year  room  the  other  day  we  were  discussing 
form.  Certain  expressions  led  me  to  surmise  that 
some  forms  were  yet  in  a  sort  of  nebulous  condition  in 
the  pupils'  minds,  and  as  a  test  I  said  "Tell  me  the 
difference  between  a  sphere  and  a  circle."  The  best 
reply  I  could  get,  and  to  which  no  one  took  exception, 
was,  "A  spear  is  sharp  and  a  circle  ain't!"  Further 
speariii ,  as  a  Scotchman  might  say  revealed  that  solids 
and  surfaces  were  almost  hopelessly  confused,  owing  to 
the  indiscriminate  use  of  tablets  to  represent  "views." 
I  believe  that  the  less  a  primary  pupil  has  to  do  with 
different  "views"  the  better.  When  he  knows  the 
shapes  of  plane  faces  and  can  draw  them  in  about  five 
seconds  apiece,  without  the  eraser,  he  may  perhaps  steer 
a  straight  course  through  "Five  views  of  a  circular 
tablet"  and  other  like  useless  and  inane  complexities,  if 
he  must;  but  he  ought  to  know  some  few  facts,  and  be 

54 


A   FIRST   YEAR   IN   DRAWING. 


55 


able  to    do    some    few    things    well    before  leaving  the 
primary  grade. 

From  the  first  three  solids  but  two  plane  figures  are 
derived, —  the  circle  from  the  cylinder  and  the  square 
from  the  cube.  Last  month  the  pupil  pressed  or  traced 
and  cut  out  these  two  shapes.  Each  should  be  made 
perfectly  familiar. 


Fig.  34- 

To  secure  this  three-fold  result, —  knowledge  —  power 
—  skill, —  three  sorts  of  lessons  should  be  given: 

1.  Object  drawing, —  to  give  definite  knowledge  of 
the  object,  and  of  the  method  of  representing  it. 

2.  Memory  drawing, —  to  test  the  results  of  previous 
teaching,  and  to  develop  the  power  to  reproduce. 

3.  Dictation  drawing, —  to  review  previous  work  and 
to  secure  rapidity  in  execution. 

The  square.  There  are  various  ways  of  giving  the 
early  lessons  on  the  square,  depending  upon  materials, 
circumstances  and  individualities ;  but  the  fundamental 
order  is,  (Fig.  34,)  (a)  the  cube,  (b)  one  face  of  the 
cube,  (c)  a  concrete  representation  of  the  face  by  tablet 
or  paper,  ( d)  its  representation  by  sticks  —  soaked  peas 


56 


A   FIRST   YEAR   IN   DRAWING. 


and  tooth  picks  or  wires  as  in  the  kindergarten,  or  sim- 
ply splints  or  sticks  laid  upon  the  desk,  (which  may  be 
omitted,  with  all  but  the  youngest  children)  (e)  its  more 
abstract  representation  by  drawing  from  the  object  upon 
paper  and  larger  upon  the  blackboard,  often  tested  to 
see  that  corners  are  square  and  edges  equal.  These 
steps  occupy  from  two  to  six  lessons  of  twenty  minutes 
each,  according  to  conditions. 

Squares  cut  from  stiff  manilla  paper  may  be  used  in 
constructing  little  objects  delightful  to  children,  as  shown 


Fig.  35- 

in  Figure  35;  or  if  cut  from  colored  paper  they  may  be 
arranged  in  borders,  mats  and  rosettes  as  in  Figure  36. 
The  first  drawing  should  be  from  the  object  directly, 
without  blackboard  illustration.  Hold  the  cube  in  the 
hand  before  the  class.  "We  will  draw  this  face.  You 


A   FIRST   YEAR   IN   DRAWING. 


57 


may  place  a  point  to  represent  this  corner.  (To  insure 
uniform  work,  have  all  papers  in  a  similar  position,  and 
the  first  point  placed  one  inch  from  the  upper  left-hand 
corner  of  the  sheet.)  Place  a  point  to  represent  this 
corner, —  this  lower  corner, —  this  corner.  Draw  this 
edge, —  this, —  this, —  this."  In  each  case  directing 
attention  to  the  face  of  the  object. 


Memory  draw- 
ings     should     be 
made   without 
suggestion,  help  or  hinder- 
ance.      The    direction    is, 
simply:    "You  may  draw  J''g-36- 

the  square  you  drew  yesterday, —  same  size, —  same 
position."  At  another  time  a  vertical  line  is  drawn 
upon  the  blackboard.  "  This  line  is  one  side  of  a  square, 
—  draw  the  square."  Later  draw  one  horizontal  side, 
and  lastly,  when  you  think  the  pupils  know  square,  draw 
one  side  oblique,  and  ask  them  to  finish  the  square. 
This  is  a  crucial  test  for  primary  children. 

Dictation  drawings  should  be  very  simple : — "Place 
points  for  a  square  ;   draw  the  square ;   connect  opposite 


58  A  FIRST   YEAR  IN   DRAWING. 

corners  by  straight  lines," —  or  something  equally  sim- 
ple, may  be  too  difficult  at  first.  If  so,  dictate  one  point 
at  a  time,  one  line  at  a  time, —  clearly,  slowly,  but  with- 
out repetition.  Let  the  exercise  progress  as  rapidly  as 
the  children  can  follow,  without  interruption  by  question 
or  otherwise.  An  exercise  requiring  twenty  minutes  one 
week,  ought  to  be  drawn  in  ten  the  next,  and  in  five  the 
next,  and  in  three  the  next.  The  end  is  skill.  Emerson 
has  given  us  the  law  of  the  dictation  exercise, —  uncon- 
sciously of  course. 

"Without  halting,  without  rest 
Lifting  Better  up  to  Best." 

In  all  this  early  work,  let  not  erasing  be  once  named 
among  us.  "Think  before  you  speak,"  is  a  good  rule, 
and  if  followed  will  eliminate  three-fourths  the  errors. 
One  ounce  of  thought  is  worth  a  pound  of  rubber.  How 
often  in  primary  schools  the  old  parable  is  exemplified 
afresh : 

"Nimble  Dick,  he  was  so  quick, 

He  tumbled  over  a  timber ; 
He  bent  his  bow  to  shoot  a  crow ; 
And  shot  the  cat  in  the  winder !  " 

If  Dick's  brain  had  only  been  more  nimble  !  Some 
pupils  hang  their  "thinking  cap"  in  the  entry  with  the 
other.  This  is  a  bad  habit,  and  should  be  broken  up. 


A   FIRST   YEAR   IN   DRAWING. 


Intermediate  Section. 


59 


"  How  are  you  coming  on  with  your  sketches  of  things 
like  squares  ?  Show  me  your  sketches  and  you  may  see 
mine."  (Fig.  37.) 

A  series  of  lessons  on  the  next  geometric  figure,  the 
oblong,  may  be  as  follows : 


Fig.  37- 


i.  Review  square  and  diameters.  Divide  a  square 
upon  one  diameter.  How  many  parts?  What  about 
their  shape?  Study  one  part.  What  has  it  in  common 
with  the  square  ?  In  what  does  it  differ  from  the  square  ? 
Find  objects  having  a  similar  shape.  Yes,  the  room  is 
full  of  oblongs, —  almost  every  object  in  it  has  an  oblong 


60  A   FIRST   YEAR  IN   DRAWING. 

face.      Cut    an    oblong  from    paper.      Make    it  exactly 
2     X  3-j".      Draw  oblongs  on  the  blackboard. 

2.  Review  oblong.      On  a  sheet  6"   X    9"   make  a 
drawing  of  the  paper  oblong  previously  cut,  just  twice 
its  actual  size.      Mount  the  paper  oblong  in  the  center 
of  the  sheet.      (Fig.  38.) 

3.  Review  square  with  diameters  and  diagonals.     All 
diagonals  connect  what?     All  diameters  connect  what? 
Cut  an  oblong  2-£"  X  4".      Can  you  fold  that  oblong  to 
show  its  diameters  ?     That's  easy ;    but  can  you  fold  it 
to    show    diagonals?     Now    be    careful!       Draw    sheet 
shown  in  Fig.  39. 

4.  Draw  some  oblong  object.      (See  Fig.  40;  a  tag.) 

5.  Reproduce  the    drawing  from    memory  or  draw 
some  other  oblong  object. 

6.  Draw  the    following    from    dictation.     Turn    the 
sheet  (6"  X  9")  so  that  its  short  edges  are  horizontal. 
Place  a  point  one  inch  from  the  upper  left  hand  corner; 
another    one    inch   from  the  upper  right  hand  corner. 
Trisect  the  distance  between  these  points.      Measure  on 
the  pencil  a  distance  equal   to  one  of  these  divisions. 
Show  on  the  pencil  a  distance  equal  to  two  of  the  divi- 
sions :    a  distance  equal  to  four  of  the  divisions.     Place  a 
point  for  the  lower  left  hand  corner  of  an  oblong  whose 
vertical  side  is  equal  to  the  distance  you  now  have  on 
the  pencil  (four-thirds  as  long  as  the  horizontal  side.) 


A   FIRST   YEAH   IN   DRAWING. 


61 


Fig.  38. 


39- 


62 


A  FIRST   YEAR   IN   DRAWING. 


Place  a  point  for  the  lower  right  hand  corner.  Trisect 
the  distance  between  the  lower  corners.  Quadrisect  the 
distance  between  the  left  hand  corners :  between  the 
right  hand  corners.  Sketch  lightly  four  vertical  lines 
connecting  opposite  points.  Sketch  a  horizontal  line 
connecting  the  upper  corner  points.  Sketch  a  similar 
line  connecting  the  points  next  below.  Sketch  a  similar 
line  connecting  the  middle  points.  Sketch  a  similar  line 


connecting  the  lower  corner  points.  Line-in  parts  of 
these  sketched  lines  to  form  the  outline  of  a  Latin  Cross. 
(Fig.  41.)  What  is  the  symbolic  meaning  of  the  Latin 
Cross?  Of  the  Greek  Cross? 

NOTE. —  TJic  Crosses.  No  simple  ornamental  forms 
are  of  greater  interest,  historically,  and  as  symbols,  than 
the  crosses.  There  are  numerous  varieties,  but  all  are 


A   FIRST   YEAR  IN   DRAWING. 


63 


reducible  to  four  types ;   the   Greek  cross,    (at  the  left, 

Fig-  37)  the  Maltese  cross 
(next  to  the  right),  the  Saint 
Andrew's  cross,  and  the  Latin 
cross  (Fig.  41.)  These  four 
in  final  analysis  become  two, 
one  based  on  the  square  and 
one  on  the  oblong.  Their 
simple  pleasing  forms,  inter- 
esting because  of  their  his- 
tory and  sacred  by  associa- 
tion, become  valuable  material 
Fig.  41.  for  primary  teachers. 

The  oldest  by  far  is  that  known  as  Greek  —  so  called 
because  adopted  by  the  Eastern  and  Greek  church  to 
distinguish  it  from  the  Western  or  Roman  or  Latin 
church  —  whose  symbol  was  the  Latin  cross.  It  has 
been  found  on  monuments  in  all  parts  of  the  world,  ante- 
dating the  Christian  era  by  hundreds  and  even  thousands 
of  years.  Some  archaeologists  suppose  it  to  symbolize 
Eden  or  rather  the  rivers  which  watered  Eden. 
"  Springing  out  of  the  midst  of  the  garden,  and  thence 
parted  into  four,"  flowing  north,  south,  east  and  west, 
"  to  the  great  ocean  stream  which  encompassed  the 
whole  land  round  about."  However  this  may  be,  it  was 
a  sacred  symbol  for  ages  before  the  Christian  fathers 


64  A   FIRST   YEAR   IN   DRAWING. 

adopted  it,  to  symbolize  the  waters  of  life, —  the  gospel 

—  "the    fountain    for    sin    and    uncleanness   opened  at 
Jerusalem,"  thence  flowing  north,  south,  east  and  west, 

—  eventually  to  make  the  whole  earth  the  garden  of  the 
Lord.     In  England  the  Greek  cross  became  the  cross  of 
St.  George,  and  as  such  appears  in  the  English  flag. 

The  Latin  cross  symbolizes  Christ  himself,  and  his 
death  on  Calvary.  This,  too,  is  a  very  old  symbol. 
Some  trace  it  back  to  the  tau  of  the  Egyptians.  A  sim- 
ilar form  appears  in  the  Scandinavian  Mythology  as 
Thor's  hammer.  Longfellow  introduces  the  symbols  of 
the  opposing  religions,  with  artistic  effectiveness  in  the 
Olaf  Saga. 

Then  King  Olaf  raised  the  hilt 
Of  iron,  cross-shaped  and  gilt, 

And  said,  "Do  not  refuse; 
Count  well  the  gain  and  the  loss 
Thor's  hammer  or  Christ's  cross ; 
Choose ! " 

Olaf  went  over  his  kingdom  "with  this  rough  harrow  of 
conversion,"  as  Carlyle  puts  it,  and  obtained  an  outward 
conformity  to  the  rites  of  the  new  religion.  But  when 

O'er  his  drinking-horn,  the  sign 
He  made  of  the  cross  divine, 
As  he  drank  and  muttered 

his  prayers ; 
.  the  Berserks  evermore 


A    FIRST   YEAR   IN   DRAWING.  65 

Made  the  sign  of  the  Hammer  of  Thor 
Over  theirs. 

'Twas  the  Latin  cross  Constantine  saw  in  the  heavens 
with  the  words  "  Conquer  by  this."  By  this  same  sym- 
bol, Peter  the  Hermit  aroused  all  Europe  for  the  First 
Crusade.  It  became  the  badge  of  the  crusaders  and 
lives  in  history  and  story  and  hymn  as  the  most  powerful 
symbol  of  the  middle  ages.  Many  of  the  world's  greatest 
cathedrals  are  built  upon  the  plan  of  the  Latin  cross. 

The  Maltese  cross  was  probably  evolved  from  the 
Greek  cross  by  the  Knights  of  St.  John  of  Jerusalem, 
during  the  Crusades.  These  Knights  obtained  Malta 
as  a  perpetual  sovereignty,  and  fortified  the  island  until 
it  became  almost  impregnable.  This  cross  formed  the 
principal  bearing  of  their  arms  and  banners, —  hence  its 
name  —  Maltese. 

Sainc  Andrew's  cross  in  its  original  form  was  X,  based 
on  the  oblong,  later,  in  heraldy  it  appeared  as  X ,  based  on 
the  square.  That  given  in  Fig.  37  is  an  ornamental  form, 
often  found  in  Gothic  ornament.  Saint  Andrew  is  the  na- 
tional saint  of  Scotland, —  and  his  symbol  now  appears 
with  the  cross  of  Saint  George  in  the  flag  of  Great  Britain. 

These  four  crosses  recur  again  and  again  in  mediaeval 
ornament,  under  various  and  beautiful  forms  —  often 
with  foliations  and  tracery,  often  bejeweled  or  enriched 
with  lovely  colors. 


APRIL. 
VIII. 

Faces. —  Continued. 

ERE  is  a  picture   for 
you."      Such    an 
announcement     is 
always    hailed    with 
delight    in  a  prima- 
ry     school. 
Children 
love     pic- 
tures.   Such 
a  sketch  as 
Figure     42, 
placed     on 
Fig-42-  the    black- 

board before  school   begins,   will  claim  their  attention 
a  long  time. 

"What    do    you    see    here?"      The    answers    come 
quickly  and  with  little  agreement, —  "Hens  —  chickens 

66 


A   FIRST   YEAR   IN   DRAWING. 


67 


Fig.  43- 


—  birds  —  a  house  —  a  barn  —  a  fence  —  windows  — 
pigeons."  "Yes,  yes;  but  not  so  fast.  When  you  see 
a  sketch  like  this  (Fig.  43)  you  don't  say  I  see  eyes  — 

ears  —  nose  —  necktie,  do  you  ? 
No,  you  say,  '  I  see  a  little  girl.' 
Now  of  what  is  this  (Fig.  42), 
a  picture?" 

"  Yes,  it  is  a  hen-house :  or 
poultry-house.  Two  families 
live  in  it,  one  on  the  ground 
floor,  and  one  in  the  attic. 
Now  who  is  ready  to  name  all 
the  different  things  to  be  seen 

in  the  picture?"  When  the  interest  is  at  its  height 
ask,  "How  many  squares  can  you  find  in  the  picture?" 
The  answers  come  like  popping  corn  —  "  Two  —  five  — 
one — seven — three  —  five  —  four — fourteen  —  six —  !  " 
"Well,  well, —  not  so  fast;  somebody  is  guessing. 
Now  count  quietly  and  raise  your  hand  when  you  are 
sure  you  know  the  number."  At  last  the  squares  are 
found,  seventeen  in  all,  and  the  children  may  sketch 
something  having  a  square  in  it,  or  copy  the  sketch  on 
the  blackboard. 

The  sketch  may  be  left  upon  the  blackboard   until 
the  next  lesson,  which  will  be  upon  another  figure, 
(i.)   "Do  you  remember  when  we  pressed  upon  one 


68  A   FIRST  YEAR   IN   DRAWING. 

face  of  the  cylinder  and  cut  out  the  shape  of  the  face? 
We  will  try  that  again  this  morning,  and  do  much 
better  than  we  did  before."  Cylinders,  paper  and 
scissors  are  distributed  and  the  circles  are  cut  out  by 
the  pupils.  Each  writes  Circle  upon  one  side,  and  his 
initials  upon  the  other  side  of  his  paper  circle. 

(2.)  "What  did  we  make  during  the  last  lesson? 
Place  the  little  circle  in  the  middle  of  the  desk-top. 
Using  the  point  of  your  fore-finger  as  though  it  were  a 
pencil,  you  may  trace  around  the  circle  without  touch- 
ing it.  Yes,  go  round  again,  tracing  a  larger  circle. 
Now  let's  trace  as  large  a  circle  as  possible  without 
falling  off  the  edge  of  the  desk.  Let's  trace  it  round 
and  round  several  times.  Now,  all  together."  Have 
the  movement  uniform.  There  is  no  special  virtue  in 
beginning  at  the  bottom  and  moving  up  toward  the  left. 
Begin  at  the  top  and  move  downward  toward  the  left  if 
you  prefer.  The  only  rule  is  that  the  point  of  beginning 
should  be  in  sight  during  the  entire  process.  Find 
circles  in  the  room, —  the  clock  face,  the  number  ring, 
the  ink-well  cover,  etc.,  etc.  Practice  the  movement 
again.  "  How  many  circles  can  you  find  in  this  picture 
that  we  studied  the  other  day?" 

(3.)  Practice  the  circular  movement  first  without  pen- 
cils then  with  pencils.  If  possible  have  a  large  printed  or 
drawn  circle  (about  4"  in  diameter)  for  the  pupils  to 


A   FIRST  YEAR   IN   DRAWING. 


69 


trace.  Hold  the  pencil  as  for  a  vertical  line,  and  trace 
round  and  round  barely  touching  the  paper,  so  as  to 
make  very,  very  light  lines.  Now  try  without  the  printed 
circle.  Just  as  twenty  homely  girls  photographed  suc- 
cessively upon  the  same  plate  will  make  a  pretty 
composite  face,  so  twenty  imperfect  circles  lightly  drawn 
may  produce  the  effect  of  roundness. 

(4.)    Practice  drawing  circles  of  limit- 
ed sizes.  That  is, 
place  two  points 
to    indicate    the 
height     of     the 


Fig.  44. 


circle,  and  practice  the  movement  and  draw  through 
these  points. 

(5.)  Cut  circles  from  paper  and  construct  one  or 
more  such  simple  objects  as  shown  in  Fig.  44. 

(6.)  Draw  one  or  more  such  objects  upon  manilla 
paper. 

(7.)      Reproduce  such  drawings  from  memory. 

(8.)  Dictate  as  follows:  Place  points  for  a  four  inch 
circle.  Sketch  the  circle.  Place  a  point  one  inch 


70 


A   FIRST   YEAR   IN   DRAWING. 


above  the  lower  part  of  the  circle.  Practice  the  move- 
ment for  a  new  circle  through  this 
point  and  the  highest  point  in  the 
first  circle.  Barbarous  and  other 
imperfectly  civilized  people  some- 
times wear  ear-rings, —  often  of  this 
shape.  (Fig.  45.) 

"  What    is    the    largest  circle    you 
ever  saw?" 


Fig.  45- 


Intermediate  Section. 

"Do  you  remember  that  in  our  last  lesson  many  of 
you  had  trouble  with  trisecting?  Now  that  seemed  of 
but  little  consequence  in  drawing  the  cross,  although  I 
believe  you  thought  the  crosses  looked  better  when 
drawn  accurately ;  but  we  shall  have  trisecting  to  do 
before  long  which  will  be  very  important.  You  know 
that  last  Arbor  Day  we  set  out  trees  at  the  corners  of 
our  school  house  lot,  next  the  sidewalk.  This  year  we 
have  two  more  to  set  out.  Where  shall  we  put  them? 
Here  is  a  rough  plan.  (Fig.  46.)  The  corner  trees 
are  only  75  feet  apart,  and  we  must  have  the  others 
placed  so  that  the  trees  shall  have  all  the  room  possible 
to  grow  evenly.  Will  the  arrangement  at  A  look  well, 
or  B  look  better?  Here  are  two  dots  on  the  blackboard 


A   FIRST   YEAR   IN   DRAWING. 


71 


for  the  corner  trees.  Who  will  show  me  where  the 
others  should  be  placed  ?  We  will  trisect  three  different 
lines  8"  long.  The  two  pupils  who  do  this  accurately 
may  drive  the  stakes  in  the  yard  to  show  us  where  to  set 
the  trees  Arbor  Day." 

"When  you  think  you  can  trisect  perfectly,  you 
may  try  to  puzzle  out  this :  Cut  a  4"  X  9"  oblong  from 
paper ;  trisect  the  long  sides ;  make  three  cuts  through 


Sohool 

i           a 
*        X 

house   lot; 

JH    ^  - 
jji    *  * 

Sidewalk  - 

1' 

u      * 

A 

!   1  i        4 
y    L*         * 

3,'dew.IK. 

B 

Fig.  46. 

the  points  of  trisection  so  that  the  pieces  will  form  three 
equal  quadrilaterals  whose  sides  measure  two  inches  by 
five  inches ! " 

"  By  the  way,  how  about  the  sketches  of  things  like 
oblongs  ?     How  many  have  more  than  three  ?     Here  are 


72 


A   FIRST   YEAR   IN   DRAWING. 


some  of  mine.  There  are  so  many  oblong  things  in  the 
world  one  has  difficulty  in  selecting  what  to  sketch. 
Of  course  you  all  have  sketches  of  doors  and  windows 
(Fig.  47)  and  picture  frames,  and  the  American  flag. 

The  next  geometric  figure  to  be  studied  is  the  circle. 

I.  Review  cylinder,  surface,  face  and  circle.  Pro- 
vide a  4  inch  paper  circle  for  each  pupil.  What  kind 
of  edge  has  it?  Can  you  find  a  point  equally  distant 


Fig  47- 


from  all  parts  of  the  edge?  The  line  bounding  the 
circle  is  its  circumference.  The  point  equi-distant  from 
all  parts  of  the  circumference  is  its  center.  Write  the 
words  upon  the  circle  in  their  proper  places.  Find 
objects  having  circular  faces.  Practice  drawing  circles 
upon  the  blackboard  using  a  string,  and  later,  freehand. 
2.  Have  each  pupil  fold  his  4"  circle  so  that  a  crease 


A   FIRST   YEAR   IN   DRAWING. 


73 


will  divide  it  into  two  equal  parts.  Each  is  what 
part  of  the  circle?  Each  half  circle  is  a  semicircle. 
Describe  the  position  of  the  crease.  A  straight  line 
passing  through  the  centre  from  one  point  in  the  circum- 
ference to  an  opposite  point  is  a  diameter.  Fold  the 
circle  so  that  the  two  ends  of  the  diameter  come 
together.  The  new  crease  bears  what  relation  to  the 
first?  Into  how  many  equal  parts  is  the  circle  now 


Fig.  48. 

divided  ?  A  quarter  circle  is  a  quadrant.  Half  a  diam- 
eter,—  a  line  from  any  point  in  the  circumference  to  the 
center  is  the  radius.  Write  the  words  upon  the  circle 
in  their  proper  places.  Mount  the  paper  circle  upon 
the  left  half  of  a  6"  X  9"  sheet. 

3.     Review  circle   and   its  details.     Draw  the   circle 
and  its  details  upon  the  right  half  of  Sheet  1 4.    (Fig.  48.) 


74 


A  FIRST   YEAR    IN   DRAWING. 


4.  Draw  some  circular  object;*   (see  Fig.  49,  sec- 
tion of  a  young  maple)    a  watch,  or  the  ink-well  cover. 

5.  Reproduce  the   drawing   from   memory  or  draw 
some  other  circular  object. 

6.  Draw   the    following   from    dictation.      Turn   the 
sheet  (6"  X  9")  so  that  its  short  edges  are  horizontal. 
Place  a   point  one  inch  below   the 

middle    of    the    upper    edge ;     four 
inches    below    place   another  point. 
Through  these  points  sketch  a  circle. 
Sketch    a    radius    from  the    center 
downward ;    extend  the  line  to  within 
one  inch  of   the  lower   edge   of  the 
sheet.     Sketch    a    line    parallel     to 
this    vertical    line    one-quarter    inch    to   the    left   of    it. 
Sketch  another  similar  line  one-quarter  inch  to  the  right 
of  it.     Sketch  short  horizontal  lines  joining  the  ends  of 
these  lines.     Line  in  to  make  a  fan.      (Fig.  50.) 
When  drawing  circles, 

"  If  at  first  you  don't  succeed, 
Try,  try,  try  again." 

not  with  the  eraser,  but  with  the  pencil.     Did  you  ever 

*A  good  list  of  objects  based  on  the  geometric  figures  may  be  found  in 
the  Primary  Manual,  "  White's  New  Course  in  Art  Instruction," — Prang 
Educational  Co.  This  book  contains  valuable  suggestions  for  paper 
cutting,  with  illustrations. 


Fig.  49- 


A   FIRST   YEAR   IN  DRAWING. 


75 


hear  about  the  most  famous  circle  in  the  world?  There 
once  lived  in  Florence  a  renowned  artist  named  Giotto 
(pronounced  Jot'-to)  ;  Pope 
Boniface  wanted  some  fres- 
coes painted  on  the  walls  of 
St.  Peter's  Church,  Rome, 
and  despatched  a  messenger 
to  obtain  samples  of  Giotto's 
work.  The  messenger 
stopped  at  Sienna  on  the 
way,  obtained  specimens  of 
work  from  some  famous 
artists  there,  and  then  came 
to  Florence.  One  morning 
he  visited  Giotto  and  request- 
ed a  sample  of  his  work  to 

send  to  Rome  for  the  pope's  inspection.  Giotto  seized 
a  brush,  dipped  it  in  red  paint,  and  with  one  stroke  of 
his  hand  drew  a  circle  so  perfect  that  it  was  a  wonder  to 
behold.  Handing  the  paper  to  the  messenger  he  said, 
"Here  is  your  drawing."  "Am  I  to  have  nothing  more 
than  this?"  "It  is  enough  and  to  spare,"  said  Giotto. 
"  Send  it  with  the  rest  and  you  will  see  if  it  will  be 
recognized."  The  wonderful  circle  —  "  Giotto's  O,"  — 
secured  the  contract,  and  the  master  went  to  Rome  to 
decorate  the  church. 


50. 


C 


MAY. 

IX. 
Reviews. 

HILDREN,  what  is  the  position  of  this 


Nine  times  in  ten  the  answer  is  a  snarl  of  syllables 
from  which    the  practiced   ear  may    disentangle    three 
words,  horizontal,  vertical  and  oblique. 
"What?" 


Fig.  51. 

"  Horizontal,"  is  the  general  verdict,  for  so  the  lead- 
ers said  the  first  time. 

"Horizontal?"  says  the  teacher  in  his  most  skeptical 
tone. 

76 


A    FIRST   YEAR   IN   DRAWING.  77 

"Vertical !  "  shout  the  children. 

"What?!!" 

"  Oblique." 

"Well,  now  which  is  it?" 

Did  you  ever  listen  sorrowfully  to  such  a  dialogue  in 
your  own  school,  my  fellow  teacher?  Is  it  so  with  draw- 
ing only?  Are  you  conscious  how  much  your  children 
depend  upon  the  tones  of  your  voice  and  upon  your 
looks?  Half  the  pupils  in  Massachusetts  will  take  back 
everything  they  have  said  if  the  teacher  changes  the 
expression  of  her  face :  The  children  don't  know  what 
they  know,  and  know  that  they  know  it.  "  How  many 
angles  has  this  X?"  said  I  the  other  day.  "So  you 
think  you  know,  do  you?"  And  the  young  gnostic 
answered  sturdily,  "I  KNOW,  I  know!"  But  he  was  a 
brilliant  exception  to  prove  the  rule. 

Now  one  reason  for  this  indefiniteness  and  uncertainty 
is  lack  of  review.  A  good  teacher  not  only  teaches  this 
one  lesson,  but  welds  it  to  previous  lessons  and  keeps 
the  entire  work  to  date  before  the  pupil.  When  one 
asks  in  May  about  the  surface  of  a  sphere,  something  is 
wrong  if  the  teacher  says  apologetically,  "They  had 
that  last  September." 

It's  so  easy  to  do  this  review  work  well  in  drawing. 
"Here  is  another  picture?"  (Fig.  51.)  "This  is  a 
group  I  saw  at  the  paint  shop  this  morning.  What  are 


78  A   FIRST   YEAR   IN   DRAWING. 

these  things?  The  oil  can  is  shaped  like  which  type 
solid?  How  many  faces  has  it?  How  many  edges? 
How  many  corners?  What  is  the  shape  of  the  paint 
pot?  How  many  faces  has  a  cylinder?  How  many 
edges?  How  many  corners?  What  kind  of  edges? 
Can  you  find  something  in  the  picture  like  a  sphere? 
Tell  all  you  know  about  a  sphere.  Can  you  see  the 
picture  of  a  plane  face  in  this  sketch?  What  is  the 
shape  of  one  plane  face  ?  How  many  plane  faces  would 
there  be  on  the  real  objects?  How  many  plane  faces 
are  visible  in  the  sketch?  How  many  angles  on  one 
face  of  the  oil  can?  What  kind  of  angles  would  these 
be  on  the  real  oil  can  ?  What  are  they  in  the  picture  ?  " 
etc.,  etc.  All  the  pupil  has  studied  to  date  may  be 
reviewed  with  such  a  sketch  upon  the  blackboard. 

But  special  emphasis  should  be  laid  upon  the  geo- 
metric figures,  square  and  circle,  derived  from  the  solids. 
In  these  reviews  such  a  book  as  "Primary  Manual 
Training"  by  Mrs.  Cutler,  (Educational  Pub.  Co., 
Boston  and  Chicago),  will  be  found  suggestive.  Ask 
pupils  to  cut  pictures  of  objects  involving  these  figures 
from  dry  goods  catalogues,  seed  catalogues  and  other 
advertisements.  These  may  be  pasted  in  a  scrap  book, 
and  used  for  busy  work  in  various  ways.  Encourage 
sketching  objects  containing  these  figures.  Have  large 
squares  and  circles  drawn  upon  the  blackboard  by  the 


A   FIRST   YEAR   IN   DRAWING. 


79 


Jig,  52. 


Fig.  53- 


80  A   FIRST   YEAR   IN    DRAWING. 

children.  Such  sheets  as  Fig.  30,  (page  41)  may  now 
be  made,  first  with  the  square,  then  with  the  circle. 
Teach  trisect  using  bits  of  chalk  or  beans,  or  other 
movable  objects  of  small  size,  then  have  the  Greek  cross 
folded  and  cut  from  paper, —  and,  lastly,  drawn,  (Fig. 
52.)  Try  this  exercise:  Cut  a  4"  circle  and  mount  it 
on  the  left  half  of  a  sheet,  (Fig.  53.)  With  a  ruler  draw 
a  vertical  and  a  horizontal  line  through  its  center. 
Paste  a  i"  circle  upon  the  center.  Make  a  .freehand 
drawing  of  the  rosette  upon  the  right  side  of  the  page. 

Intermediate  Section. 

The  review  with  these  older  pupils  may  be  closely 
related  to  nature  study. 
During  the  winter, 

"  Nature  whistled  with  all  her  winds, 
Did  as  she  pleased  and  went  her  way." 

But  now 

"  She  paints  with  white  and  red  the  moors 
To  draw  the  nations  out  of  doors." 

And  it  is  time  for  boys  and  girls  to  leave 

"  The  fancies  found  in  books  ; 
Leave  authors'  eyes  and  fetch  their  own 
To  brave  the  landscape's  nooks." 


A   FIRST  YEAR   IX   DRAWING. 


81 


54- 


82 


A   FIRST   YEAR   IN   DRAWING. 


Such  a  diagram  as  this  placed  upon  the  blackboard 
may  help. 


TRIANGULAR 

SQUARE 

OBLONG 

CIRCULAR 

Leaves 

Flowers 

Leaves 

Flowers 

Leaves 

Flowers 

Leaves 

Flowers 

Sorrel. 

Wake- 

Hepat- 

Bluet. 

Shad- 

Violet. 

Pyrola. 

Hepat- 

Robin. 

ica. 

bush. 

ic  a. 

Fern. 

Lilac. 

Marsh- 

Blood- 

Lom- 

Marsh- 

Mari- 

root. 

Straw- 

bardy- 

Dwarf 

Vetch. 

gold 

Colum- 

berry. 

Poplar. 

cornel. 

bine. 

Blood- 

Marsh- 

Black- 

Dwarf- 

root. 

Marigold 

berry. 

cornel. 

Cinque- 

foil. 

At  the  beginning  only  the  diagram  is  upon  the  black- 
board. One  fine  morning  a  boy  brings  an  hepatica. 
The  blossom  is  found  to  be  circular;  hence  "Hepatica" 
is  written  in  the  column  for  circular  flowers.  The  boy 
is  asked  to  bring  an  hepatica  leaf  the  next  day,  and  that 
is  found  to  be  square,  (if  the  variety  is  triloba.)  "  He- 
patica" is  again  written  upon  the  board,  this  time  in  the 
column  for  square  leaves. 

The  list  grows  day  by  day  as  fast  as 
the  pupils  discover  the  new  plants, 
until  the  end  of  the  term.  The  quest 
becomes  fascinating.  Why  aren't  there 
more  oblong  flowers  ?  and  more  triangu- 
lar flowers  ?  and  fewer  triangular  leaves  ? 

To  many  pupils  such   exercises  will  be   revelations. 


A   FIRST  YEAR   IN  DRAWING. 


83 


Fig.  56. 


Fig-  57- 


84  A   FIRST   YEAR   IN   DRAWING. 

They  may  not  exclaim  with  Kepler  "  God  geometrizes  !  " 
but  they  will  discover  that  things  are  intelligently 
planned  in  this  wonderful  world,  and  that  the  humblest 
natural  object  has  a  beauty  of  its  own. 

If  we  can  train  a  generation  of  young  people  who  go 
about 

"  Pondering  shadows,  colors,  clouds, 
Grass-buds  and  caterpillar-shrouds, 
Boughs  on  which  the  wild  bees  settle, 
Tints  that  spot  the  violet's  petal 
Why  Nature  loves  the  number  five, 
And  why  the  star  form  she  repeats ; " 

there  will  be  more  men  and  women  by  and  by  who  can 
see  something  in  this  world  besides  the  almighty  dollar, 
and  who  can  talk  about  something  besides  Self. 

The  drawings  this  month  may  be  similar  to  those 
here  sketched :  each  pupil  selecting  his  own  objects  and 
completing  a  series  of  four  sheets,  (Figs.  54—57.)  A, 
represents  a  pressed  flower  or  leaf  fastened  upon  the 
sheet ;  B,  the  enlarged  drawing.  These  sheets  may 
be  made  quite  artistic  in  arrangement  and  beautiful  in 
color. 


JUNE. 

x. 
Arrangement  and  Design. 

BY  this  time  the  children  know  that  all  objects  in 
nature  and  the  constructive  arts  may  be  classified 
according  to  their  type  forms,  (solids,  or  geometric  fig- 
ures derived  from  the  solids.)  When  I  say  they  know 
it,  I  mean,  of  course,  in  their  childish  way.  "  When  I 
was  a  child,  I  talked  as 
a  child,  I  thought  as  a 
child,  I  reasoned  as  a 
child,"  and  now  that  I 
teach  children,  I  must 
appreciate  their  point  of 


, 


I 


view; — and  how  fascin- 
ating it  is  !  Now  they 
may  be  led  to  see  that 

all    ornament    is    based  ,  

upon  these  same  things. 

For  example,  here  are  three  classic  mouldings,  one  for 
each  type  form  ;  the  bead,  Fig.  59,  the  astragal,  Fig.  60, 
and  the  dental,  Fig.  61.  They  are  ubiquitous  and 
have  been  for  a  millennium.  Two  of  these  may  be 
reproduced  by  arranging  models. 

85 


86 


A   FIRST   YEAR   IN   DRAWING. 


A   FIRST   YEAR   IN   DRAWING.  87 

But  more  satisfactory  exercises  may  be  given  with 
tablets  or  units  cut  from  colored  paper.  The  lowest 
type  of  beauty,  mere  regularity,  recurrence  at  equal 
intervals,  repetition,  is  already  familiar  to  the  pupil  (Fig. 
36.)  Alternation  is  the  next  higher  law.  Here  are 
examples  —  Fig.  62.  Two  classes  may  safely  be  at- 
tempted,—  borders  and  surfaces;  a  and  d  show  alterna- 
tion of  size,  b  and  e  alternation  of  position,  and  c  and  f 
alternation  of  form. 

With  such  designs  as  these  reproduced,  enlarged,  in 
color,  the  teacher  may  fire  every  pupil  with  zeal  to  pro- 
duce such  for  himself.  His  own,  of  course,  should  be 
original.  Not  original  in  the  sense  of  novel  or  unique, 
not  entirely  different  from  all  others  in  existence,  but 
original  in  the  truer  sense, —  the  result  of  the  pupil's 
own  thought.  A  good  set  of  tablets  for  each  pupil  is 
now  a.  necessity.*  With  these  tablets  as  units,  the 
pupil  should  (i)  copy  one  good  example  to  insure 
accurate  spacing,  etc.,  (2)  make  several  original  arrange- 
ments, the  teacher  noting  results,  (3)  rearrange  the  best 
with  utmost  care,  studying  proportionate  amount  of 


*"Form  Tablets  —  Second  Year,  Individual  Set,"  (White's  New  Course 
in  Art  Instruction,)  is  the  best.  It  contains  a  larger  number  of  well  pro- 
portioned tablets  than  any  other.  If  these  cannot  be  obtained,  tablets  may 
be  cut  from  manilla  paper  by  the  teacher,  or  by  the  older  pupils,  or  as  a 
la-t  resort,  by  the  primary  children  themselves.  As  the  tablets  are  to  be 
used  a?  patterns  later,  they  should  be  accurate. 


88 


A   FIRST   YEAR   IN   DRAWING. 


surface  covered.  (This  sounds  difficult,  but  any  child 
will  have  a  preference  if  three  sketches  like  those  in  Fig. 
63  are  placed  before  him.)  (4)  Trace  the  design,. and 
line  in  with  even  gray  lines.  Using  the  tablets  as  pat- 
terns the  units  may  be  traced  and  cut  from  colored 
paper,  and  the  design  constructed. 


D    n    D  D   D  Q 

Fig.  63. 

The  following  order  of  steps  may  be  helpful : 

a,  Select  the  design  to  be  constructed  and  the  colored 
paper  to  be  used  (one  color  with  gray  for  the  ground, — 
contrasted  harmony.) 

b,  Cut  the  gray  ground  of  the  required  size. 

c,  Trace  and  cut  out  the  required  units.     (If  a  border, 
cut  margin  lines.) 

d,  Arrange  the  units  precisely  as  they  are  to  be  in  the 
finished  design. 

e,  Place  delicate  points  upon  the  back-ground  locating 
two  cornes  of  each  unit. 

f,  Remove,   glue,    and    replace   one   unit   at   a   time. 
{One  drop  of  liquid  glue  should  be  sufficient  for  each 
pupil.) 

The  end  to  be  secured  is  not  novelty,  not  brilliancy, 


A   FIRST   YEAR   IN   DRAWING. 


89 


nor  intricacy,  but  beauty ;  the  quiet  beauty  which  comes 
from  the  accurate  spacing  of  simple,  well  proportioned 
forms  having  pure,  harmonious  tones  of  color. 

Intermediate  Section. 

Here  are  some  designs  for  you.     Fig.  64  is  an  old 
Byzantine  border  some  seven  hundred  years  old.     Fig. 


65   is  from  a  Gothic  stained  glass  window  of  the   I3th 
century,  and  Fig.  66  is  a  wall  decoration  taken  from  a 


90 


A   FIRST   YEAR   IN   DRAWING. 


modern  Gothic  church.  What  is  the  general  shape  of 
the  units  used  in  the  Byzantine  border?  What  is  the 
general  shape  of  the  units  in  the  other  designs?  Can 
you  find  other  illustrations  of  geometric  units  used  in 
designs?  Look  over  the  books  upon  the  teacher's 
desk,  you  may  find  good  examples  there.  You  will  be 
sure  to  find  bits  of  calico  or  wall  paper  at  home  which 
show  the  use  of  similar  units.  Let  us  see  how  such 
units  are  produced,  Here  is  a  square  folded  upon  one 
diameter  (#,  Fig.  67)  then  upon  the  other  (<£,)  and  yet 
once  more  to  bring  all  the  single  edges  together  (c.) 
The  shape  of  the  paper  as  now  folded  is  triangular.  The 
angles  are  marked  I,  2,  3,  (c.)  Unfolding  the  paper 
will  show  that  I  is  at  the  center,  2  at  a  corner  and  3  at 
middle  of  a  side.  Let  us  now  cut  off  the  corner  upon 
the  dotted  line  near  3.  See  the  result!  (Fig.  68  a.) 
Might  we  not  have  cut  off  the  corner  upon  a  curved 
line?  Curving  either  way?  Or  both  ways,  making  a 


A   FIRST   YEAR    IN   DRAWING. 


91 


Fig.  68. 


reversed  curve?  See  the  results.  (Fig.  68,  b,  c,  d.} 
Could  you  now  cut  a  unit  like  those  in  Fig.  65  ?  But 
in  Fig.  66,  the  corners  are  modified.  How  many  kinds 
of  cuts  might  be  used  in  modifying  corners?  Straight 
(e,)  simple  curve  (_/",)  reversed  curve  (^.)  And  one 
might  modify  both  sides  and  corners  (//.)  The  best 
units  are  those  which  show  contrasts  of  line  (b,  straight 
t>s.  curved,)  or  mass  (a,  broad  and  obtuse  vs.  narrow 
and  acute,)  which  are  not  so  modified  that  their  unity  is 
destroyed,  nor  so  deeply  cut  that  they  appear  to  have  no 
strength.  Practice  cutting  units  based  on  the  square  and 
circle.  Can  you  get  suggestions  for  cutting  by  studying 
leaves  and  flowers?  (Compare  Figs.  54,  56  and  57, 
with  Figs.  64,  65  and  68.)  When  you  have  obtained 
several  fair  units  make  duplicates  and  arrange  them  to 
form  borders  and  surfaces.  You  will  discover  that  the 
space  between  the  units  are  often  more  important  than 


92  A   FIRST   YEAR   IN    DRAWING. 

the  units  themselves!  (See  Fig.  66.)  When  you  have 
one  satisfactory  design,  make  a  careful  drawing  of  it. 
(Sheet  21.)  The  end  is  Beauty.  Every  means  which 
conserves  this  end  is  legitimate.  The  order  of  drawing 
is,  i,  lay  out  the  ground;  2,  divide  it  accurately  into 
spaces  of  the  proper  size  and  shape;  3,  trace  the  units; 
4,  finish  with  even  gray  lines,  adding  half  tinting  if 
desired  for  contrast.  Sheet  22  may  be  the  design  re- 
produced in  colored  paper.  Select  tones  from  one  scale, 
for  example,  a  tint  and  a  shade  of  blue-green,  to  pro- 
duce a  dominant  harmony.  The  order  for  constructing 
a  design  has  been  previously  given  in  this  article. 

And  this  is  the  final  sheet  for  the  year.  The  results 
on  paper  are  important  for  they  mirror  the  true  results 
in  the  pupil's  mind  and  heart.  Do  these  final  sheets 
reveal  a  growth  in  mental  power,  and  manual  skill?  Do 
they  show  an  increasing  love  for  the  true  and  beautiful  ? 
Is  Nature  richer  to  your  pupils?  Is  art  dearer?  "Of 
course  not ;  the  work  has  been  so  very  simple  !  "  Yes, 
very  simple,  but  not  too  simple  to  transmit  your  spirit, 
your  love  to  the  pupil. 

"  There  is  no  great  and  no  small 
To  the  soul  that  maketh  all : 
And  where  it  cometh  all  things  are  — 
And  it  cometh  everywhere." 

—  if  the  teacher  is  of  the  right  sort! 


INDEX. 

PAGE 
Analysis  of  Primary  Course        .         .         .         .         .          14 

Arbor  Day  Exercises      ......  71 

Arrangement     .         .         .         .         .         .         .         .  5  7, 85 

Bisecting       ........  42 

Borders 57,  85,  86,  88,  89 

Busy-work     ........  47 

Christmas  Presents  .         .         .         .         .         .  29, 30 

Circle  .          .         .         .         .         .         .         .       30,  67 

Classes,  Number  of  .         .         .         .         .         .         .         27 

Classic  Mouldings          ......  85 

Clay 16 

Cuoe    .         .         .         .         .         .         .         .         .      16,  21 

Crosses    .........         62 

Cylinder        .  .         .         .         .         .  16,  20 

Design      ........  89,  91 

Details  of  Form    .......  25 

Dictation  Exercises  .....        40,  52,  60,  69 

Drawing,  Necessi-y  of  Regular  Lessons  .         .  13 

Edges 28 

Ends  to  be  Secured        ......  92 

Faces 27,  45 

Flowers 49,  59,  72,  82,  83 

i 


II  INDEX. 

PAGE 
Geometric  Figures    .         .         .         .-       .         .         .         I4 

Applications  of,  in  Objects     .          .         .         .      31,  82 

Triangular  ...         .       41,  42,  49,  81 

Square    .  ,         .      53,  59j  ?9>  g2)  83 

Oblong       . .       .         .         .         .62,  63,  72,  81 

Circular  .  ..  69,70,74,75,79,83 

Applications  of,  in  Design  .         ..       .       57,  86,  89,  91 

Historic  Ornament  sc    sn 

•      °j)  °y 

Illustrative  Sketching         .         .         .         .    5,  22j  24>  36>  5O 

Language  Work  Illustrated    .         .         .         .         .  .       g,  36 

Latin  Cross       .         .       ' 63 

Leaves                                                •         -49,  59,  72,  81,  82 
Lessons,  Kinds  of     '.'  cc 

"       Number  of  .         .         .         .         .  13 

"       Order  of,  in  Form         .         .         .         .         .         !g 

"  "       "  in  Geometric  Figures  .  39,  50,  59,  67 

.     "  "       "  in  Constructed  Designs  «...       .         88 

Lines    .         .         .         .         .         .  , 

"      Position  of    .         .        . 

Maltese  Cross        .         ... 

Memory  Drawing      ...... 

Modeling      , 

Modified  Units 

Mouldings    ....... 

Movement        ...... 

Nature  Studies,  with  Drawing         .         .  ' 

Oblong  


INDEX.  m 

PAGE 

Order  of  Lessons.     (See  Lessons.) 

Paper  Cutting  .         .  .    30,  49,  55,  69,  88,  90 

Position         ........  34 

Rosettes  .         .  .         .         .         .         .         80 

Reviews         ........  76 

"       of  Forms     .         .         .         .         .         .         .  22,  24 

"       of  Details  of  Form  .      ••  .  A  ';'.         .         .  66 

Saint  Andrew's  Cross         .         .  .         .         .         65 

Sections  or  Classes  of  Pupils          ....  27 

Sphere      .         . 15,  16 

Square  .  32,  50 

Surface  .         .         .         .         .         .         .         .         26 

Surface  Arrangements    .         .         .         .         .         57,  86,  89 

Tablets,  Abuse  of  .         .         .         .         .         .  38,  54 

"      Use  of  in  Arrangement      ....  57 

Triangle  ...  ....         39 

Trisecting     ........  70 

Type  Solids 14,  16,  23 

Applications  of,  in  Objects      .         .         .  23,  24,  29,  76 
Spherical    .         .         .         .         .         .         .         17 

Cylindrical      ......  20 

Cubical      .         .         .         .         .         .         .         21 

Applications  of,  in  Ornament          ...  85 


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